Page:Fugue by Ebenezer Prout.djvu/154

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136

Fugue.

[Chap. VIII.

286. Our next illustration is by Spohr. The original subject of the fugue is

$\relative c' { \clef bass \time 4/4 \partial 2. c2 b4 | c e, a2 | d,4 g2 f4 | e g c2 ~ c4 b a2 | c4 }$

In the last and closest stretto of this fugue, only the first notes of the subject are imitated by the alto and tenor; but the treble, which enters last, gives the entire subject, though with some modifications of detail.

Spohr. 'Fall of Babylon.

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.Rest #'style = #'classical \new Staff \relative g'' { \time 4/4 \partial 2. \key c \major r4 r2 R1*2 r4 g2 fis4 | g e f2 | b,4 e2 d4 | b c f2 ~ f4 e d2 c4 } \new Staff \relative c'' { \clef alto \key c \major r4 r2 R1 r4 c2 c4 | c g a2 | g4 c f,2 | f4 bes a2 | aes4 g aes2 | g a!4 g8 f | e4 } \new Staff \relative g' { \clef tenor \key c \major r4 r2 | r4 g2 fis4 | g e f!2 ~ | f4 e ees d8 c | b4 c2 d8 c | d4 cis d2 ~ | d4 c! b c | d c2 b4 | c } \new Staff \relative c' { \clef bass \key c \major c2 b4 | c e, a2 | g4 a d, g | c,2. d4 | g a2 b8 a | gis4 g fis f ~ | f e d c | b c f g | c, } >>$

287. Our last examples, by a living composer, will illustrate the modern freedom of treatment in a stretto.

Brahms. Deutches Requiem.

$\new ChoirStaff << \new Staff \relative g'' { \time 4/2 \mark \markup \tiny { (\italic"a") } g1 g2 r | R\breve R | ees1 d2 bes | aes'1 g2 g | g1 } \new Staff \relative c' { \clef alto c1 g2 r | R\breve bes1 a2 f | g a bes f | d'1 d2 g, | bes1_"&c." } \new Staff \relative e' { \clef tenor e1 d2 r | f1 e2 c | d e f a, | bes c d d | f\breve | e1 } \new Staff \relative c' { \clef bass << { c1 b2 g a b c e, | f g a c | f,1 bes, d'1 g,2 g c r } \\ { g,2 r g'1 _~ g c, _~ c f, _~ f bes _~ bes2 b2. g4 a b c2 s } >> } >>$

Page:Fugue by Ebenezer Prout.djvu/154

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