Studiul Artelor şi Culturologie: Istorie, Teorie, Practică (Sep 2015)
THE THEORY OF FUGUE IN ANTONIN REICHA’S TRAITÉ DE HAUTE COMPOSITION MUSICALE
Abstract
This article focuses on the analysis of the main landmarks of the fugue theory presented in „Traité de haute composition musicale“ (1824–1826) – the most important treatise signed by the famous composer, teacher and theorist A. Reicha. Th e author describes in detail the elements and compartments making up a fugue: theme, answer, exposition, episode, stretto etc. He examines the simple and the multiple fugues (up to six themes); without overlooking the fugues with various theme changes (in augmentation or in diminution, in inversion or recurring movement), as well as the fugues with orchestral accompaniment, etc. Reicha diff erentiates the old fugue, composed respecting all the rules of strict counterpoint, and the modern fugue, written in free style. Th e author’s comments on the problem of unity and diversity in the fugue are of great interest. In conclusion we can see in Reicha’s fugue theory a progressive approach to many subjects related to the structure, the expressive peculiarities and the methods of using the fugue in various musical genres and styles.
