THE FUGAL STYLE
There is another element, besides its harmonically driven form, that defines the new Italianate style. The use of the old-fashioned term “Canzona” for the second movement in Purcell’s sonata (Ex. 5-11) is adopted directly from Colista, as are the movement’s form and texture, somewhat more thorough goingly and conservatively contrapuntal than the Corellian norm. It is a very competently crafted fugue, worked out with the perhaps excessive regularity and rigor one might expect to find in a self-conscious (and still youthful) imitator. But since it is the first fully developed fugue (or to be painstakingly accurate, the first fully developed specimen of what would later be called a fugue) to be encountered in this book, it is worth studying in some detail. In the description that follows, the standard modern terminology for the fugue’s components and events will be employed (and set off in italics), even though—like the word “fugue” itself—they are not strictly contemporaneous with the piece at hand.
- Citation (MLA):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05004.xml
