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Fugue - EBENEZER PROUT - PREFACE - there's most likely no department of musical conlposition during which thought is extra broadly, one may nearly say hopelessly, at variance with perform than in that which varieties the topic of the current quantity. In concord, we're often neeting with instances during which the principles of the outdated text-books want inuch amendment yet in regards to Fugue there are few certainly of the outdated precepts aren't continuously, to not say systenatically violated via the best masters. the cause of this can be doubtless that the traditional experts at the topic, Fux and Marpurg, taken care of it from the perspective of the 17th century, and that the majority in their successors, comparable to Cilerubini and Albrechtsberger to call of the main illustrious, have primarily followed their ideas, tnking very little account of the reformation, amounting nearly to a reconstruction, of the fugue on the lzands of J. S. Bach. a bit of extra liberality of tone should be present in the treatises of Anclr6, Richter, and Lobe yet nut this type of, excepting Lobe, has taken Bachs paintings because the place to begin for his investigations. Lobe, nevertheless, is just too progressive he ever abolishes the names topic and solution, utilizing as a substitute the phrases first imitation, moment imitation, c. after we discover a exotic theorist like announcing that Bach isn't a superb inodel simply because he permits himself too many exceptions, and are proficient that one of many imperative Gerinarl academics of counterpoint is within the behavior of telling his students that there's no longer a unmarried effectively written fugue between Bachs 40- 8, absolutely it's excessive time that an earnest protest have been entered opposed to a approach of educating nrliich areas in one of those Expurgatorius the worlts of the best fugue author that the area has ever noticeable. In writing the current treatise, the writer has consulted all of the ordinary experts, yet as can be inferred from what has simply been acknowledged has none. He has proceeded at the salsle ideas that have guided him in the entire previous volumes of this sequence, and has long gone to the works of the good composers themselves...........