Fugato


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Fugato

 

in music, a passage in fugal style (seePOLYPHONY). The fugato resembles the fugue in its exposition and development of a theme, but it does not lead to a final resolution. Unlike the fugue, the fugato is not an independent form but appears in other forms: in introductory movements, in the statement of a theme, or, most often, in the development section of the sonata form.

References in periodicals archive ?
Pagal ismatuota skendinciuju medziagu koncentracija pries filtravima ir po jo buvo apskaiciuotas uzpildu efektyvumas, salinant SM is fugato.
This work, in a romantic style, reflects 18th- and 19th-century piano writing incorporating many standard compositional techniques of the past, including variation, fugato and four-voice writing.
It started somewhat unsteadily but by the time they came to the first fugato passage, they felt the equal of any one of the big professional orchestras in the region.
Cohn works from intervals to larger sets, asserting that classes 3 and 4 and the tetrachords they generate are central to this passage: 'the interaction between these materials, and the role of 0347 as agent of both their conflict and their synthesis, is played out most clearly in the fugato that closes the exposition'.
It opens with an instant evocation of a snowy fairyland (hence its 'Winter Dreams' nickname), just one of several fingerprints hinting at the maturer composer: gorgeous melodies, virtually vocal woodwind (every department here outstanding), sumptuous string-writing, richly, meltingly delivered, busy fugato sections, and always an innate sense of drama.
Points left underdeveloped or requiring further exemplification include the suggestion of a fugato enlivened with stile antico harmonies (p.
After an opening Allegro, so lithe and dancing, yet with dramatically etched syncopations propelled by fluent energy and economically pointed dynamics, Nelsons gave us a superbly judged Funeral March that, while full of lamentation and a fugato section of wrenching emotional darkness, sang rather than trudged.
Much has traditionally been made of Chadwick's "Americanism" in his use of pentatonic melodies and hymn-tune passages in the last two quartets--the Fourth in particular seeming to echo Dvorak's opus 96, though Betz indicates there is scant evidence to support a strong link--but, perhaps more significantly, these later works reveal a weightiness of expression and an inventiveness in movement design, fugato writing, rhythm, texture, and harmonic progressions that gives them a unique identity.
The busy fugato passages were particularly well delivered under music director Anthony Bradbury.
Fuge und Fugato in der Kammermusik des Rokoko und der Klassik [Tutzing: Hans Schneider, 1966] as an exemplar for the "strict ricercar.