have all been transcribed for the pianoforte by Liszt and so are
readily available; they are often played at pianoforte recitals by
Paderewski and other virtuosi. In hearing one of these mas-
terpieces no one can remain unmoved or can fail to reverence
the constructive genius which fashioned such cathedrals in tone.
For orchestra we have the Prelude to Puccini’s operaMadama
Butterfly, and the beginning of the Prelude to the third act of
Wagner’sMastersingers. There are striking fugal passages in
Beethoven’s Symphonies,e.g., the first movement of theHeroic
Symphony and the rollicking Trio of the Scherzo in theFifth
Symphony. In more modern literature there is the fugal Finale
to Arthur Foote’sSuite for Orchestraand in Chadwick’sVagrom
Ballada humorous quotation of the theme from Bach’sG minor
Fuguefor organ. One of the most superb fugues in free style is
the last movement of César Franck’sPrelude, Choral and Fugue
in B minorfor Pianoforte. This movement alone would refute
all charges of dullness or dryness brought against the fugue by
the unthinking or the unenlightened. A good fugue, in fact, is so
full of vitality and demands suchactivecomprehension[39] on
the part of the listener that it is not difficult to imagine where
the dullness and dryness are generally found.
[Footnote 38: Whenever Percy Grainger performs this fugue
in his own arrangement for pianoforte, he always electrifies an
audience.]
[Footnote 39: It is worthy of observation that, for those who
will listen to them intelligently, fugues do not merely demand
such a state of mind but actuallygenerateit.]
At this point by an analysis of a fugue from theWell-tempered
Clavichord, let us explain some of the technical features in fugal
structure. We shall then be in a position to understand the
more subtle devices of fugal treatment and to appreciate more
enthusiastically some additional comments upon Bach’s style in
general.