Jean Philippe Rameau (d. 1764), the great opera-writer (see sec. 127), began his career as a clavecinist, and among his works are several collections of pieces (1706, '24-41) which rank close to Couperin's in interest and importance, though he, too, failed to develop the full capacities of the suite.
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In Germany many organ-composers used the suite-form with originality, bringing out more and more its possibilities of delicate and intricate inner structure. Data fail for an exhaustive list, but prominent names just before and just after 1700 were those of Kuhnau of Leipsic (pieces, 1689, '95), Johann Krieger of Zittau (1697), Böhm of Lüneburg (before 1700), Mattheson of Hamburg (1714), Buttstett of Erfurt (1716), Telemann of Hamburg (many suites for small orchestra, in MS.), Graupner of Darmstadt (1718, '22, '37), Muffat of Vienna (c. 1735), and J. P. Kellner of Gräfenroda (1739-49). It is known that Bach made careful study of the suites of some of these, as well as of French writers about 1700.
J. S. Bach (d. 1750) wrote over 20 works of the suite class, which are justly counted among his ablest. Most of them are in the sets known to-day as the 'French,' the 'English' and the 'German' (orchestral partite), all written probably between 1720 and 1730. In the second and third of these the suite reached its highest point of significance and dignity.
Handel (d. 1759) wrote four books of suites (1720-33), which, though less typical than Bach's and much slighter in essential value, are yet interesting as illustrating the varied applications of which the form was capable.
After about 1750 the suite became almost obsolete, and was not revived till well into the 19th century.
139. The Fugue.—Among the many types of contrapuntal
writing, the fugue became in the later 17th century easily the
chief (see sec. 103). Its development was sought primarily
upon the organ, of which it has remained the characteristic
master-form, but it was extended in the early 18th century to the clavier
and to oratorio choruses. Fugal treatment tended to appear
frequently in all kinds of writing, since the artistic feeling of
the period was still dominated by the old idea that polyphony
was the noblest method of musical construction.
The 'fugue' itself is not a composite form—does not consist of separate
movements. But with it is very commonly associated a prelude of
some kind, the two together making a work in two movements. Yet the
completed fugue form included somewhat distinct sections. These are
(a) the enunciation or exposition, in which a theme ('subject,' 'dux,' 'proposta')
is given out by some one voice-part in the tonic key, followed in a
second voice-part by a restatement of it ('answer,' 'comes,' 'risposta')
literally or approximately in the key of the dominant, while the first voice-part
proceeds in counterpoint, usually forming a subsidiary theme ('counter-subject'),
followed by similar alternating propositions by the remaining
voice-parts till all are in action; (b) the development or free fantasia,
in which the thematic material thus presented is elaborately discussed by
