Editing Fugue (section)

==== Mozart ====
[[File:Jupiter finale.png|thumb|400px|Fugal passage from the finale of Mozart's Symphony No. 41 (''Jupiter'')[[File:Mozart Symphony 41, finale, fugal passage.wav]]]]
The young Wolfgang Amadeus Mozart studied counterpoint with [[Padre Martini]] in Bologna. Under the employment of [[Hieronymus von Colloredo|Archbishop Colloredo]], and the musical influence of his predecessors and colleagues such as [[Johann Ernst Eberlin]], [[Anton Cajetan Adlgasser]], [[Michael Haydn]], and his own father, [[Leopold Mozart]] at the Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as [[Mass in C minor, K. 139 "Waisenhaus"]] (1768), [[Mass in C major, K. 66 "Dominicus"]] (1769), [[Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"]] (1773), [[Mass in C major, K. 262 "Missa longa"]] (1775), [[Mass in C major, K. 337 "Solemnis"]] (1780), various litanies, and vespers. Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus".<ref>{{cite book |chapter-url=http://mrc.hanyang.ac.kr/wp-content/jspm/20/jspm_2006_20_10.pdf|chapter=On ancient languages: the historical idiom in the music of Wolfgang Amadé Mozart|page=236|year=2008|author=[[Ulrich Konrad]]|translator=Thomas Irvine (this chapter)|title=The Century of Bach & Mozart|editor1=[[Thomas Forrest Kelly]]|editor2=Sean Gallagher|isbn=9780964031739|location=Cambridge, Massachusetts|publisher=Harvard University Department of Music}}</ref> Later in life, the major impetus to fugal writing for Mozart was the influence of Baron [[Gottfried van Swieten]] in Vienna around 1782. Van Swieten, during diplomatic service in Berlin, had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and encouraged him to transcribe various works for other combinations of instruments. Mozart was evidently fascinated by these works and wrote a set of five transcriptions for string quartet, K. 405 (1782), of fugues from Bach's ''[[Well-Tempered Clavier]]'', introducing them with preludes of his own. In a letter to his sister [[Nannerl Mozart]], dated in Vienna on 20 April 1782, Mozart recognizes that he had not written anything in this form, but moved by his wife's interest he composed one piece, which is sent with the letter. He begs her not to let anybody see the fugue and manifests the hope to write five more and then present them to Baron van Swieten. Regarding the piece, he said "I have taken particular care to write ''andante maestoso'' upon it, so that it should not be played fast – for if a fugue is not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed".<ref>{{Cite book |title=Letters of Mozart|publisher=Dorset Press|year=1986|location=New York|page=195}}{{full citation needed|date=January 2022}}</ref> Mozart then set to writing fugues on his own, mimicking the Baroque style. These included a fugue in C minor, K. 426, for two pianos (1783). Later, Mozart incorporated fugal writing into his opera ''[[Die Zauberflöte]]'' and the finale of his [[Symphony No. 41 (Mozart)|Symphony No. 41]].


The parts of the [[Requiem (Mozart)|Requiem]] he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu;<ref>{{harvnb|Ratner|1980|p=266}}</ref> he also left behind a sketch for an [[Amen]] fugue which, some believe{{Who|date=January 2018}}, would have come at the end of the Sequentia).