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View Diary: Thursday Classical Music OPUS 64: Beethoven's Ninth Symphony (part 2) (115 comments)

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  •  Yeah. (3+ / 0-)
    Recommended by:
    x, Amber6541, J Orygun

    I'd like to READ a good explanation of it before I try to explain it, heh.

    My understanding is that Bach's fugues tended to be Rondo-ish in nature.  ABACA[DAEA...ZA], with the alternating sections tending to be contrasting material.  In Bach's concertos, they call that "ritornello" form, which is very much like a rondo, but with more specific rules about key changes.  

    I've been looking for a good book on fugues.  I have one, but it's mainly about the rules of counterpoint, which are interesting but not what you're asking about, and more of a technical how-to than a useful tool for explanatory purposes.

    My diary on Bach's Brandenburg Concertos broached an explanation of ritornello form here:

    •  I never understood how that was a fugue (1+ / 0-)
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      It's totally different from all Bach fugues I know, very different from the WTC's or The Art of the Fugue's. There's hardly any stretch of genuine counterpoint, with truly independent voices. Hardly a decent exposition. Mostly 'divertissement' of a very loose kind. I think it's the only Bach work I don't really fancy.

      •  The Bach Brandenburg Concertos aren't fugues, (1+ / 0-)
        Recommended by:
        French Imp

        but they are examples of ritornello form.  

        I'm not going to go out on a limb and say that Bach fugues were in Ritornello as well.  It was just the long form of the day.  

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