There is also a central fugato section in almost Baroque style.

In fugato, for example, parts imitate each other only at certain strategic points.

In large part, the development, beginning at 145, is a fugato based on the transitional theme described above.

Line 3 is a fast fugato, with the instruments playing colla parte.

Finally he set up a mock fugato, in which successive voices began to move him elegantly through the different keys.

The young Mr. Greenberg has no objection to the term fugato.

Directly after, the exposition's first subject is composed in fugato and features an incredible display of musical development.

The melodic material presented by the group of soloists is commonly imitative fugato.

The work also utilizes the fugal elements of imitation, fugato, and contains a three voice fugue.

The introduction of the first movement's sonata form features an anticipation of subsequent theme in fugato.

The second subject is dancelike, featuring the percussion, and the exposition concludes with a brief fugato.

The Lucas series determines that, in general, each fugato or fugue is in length the sum of the preceding two.

Two days later, Stravinsky began work on the second movement by adding the previously composed fugato, and then the waltz fragment, slightly expanded.

All this energy culminates in a huge fugato (based on material already present), marked 'Intensivo', which breaks away from the harmonic field.

The third section is a brief allusion to the PT2, interrupted by a fugato based on PT1.

The entire work is also notable for its extended use of counterpoint, with the finale, in particular, beginning with an eight-part fugato.

Finally, a remarkable characteristic of this symphony is the five-voice fugato (representing the five major themes) at the end of the fourth movement.

First came the breakneck fugato of Beethoven's String Quartet, Op.

In the definitive score, the movement revolves around two scherzo themes, the first marked fugato and the second straightforward and lively.

The fugato ends with a section featuring non-fugal imitation between registers, eventually resounding in repeated D major chords.

The entire piece presents a clash between the reality of life (the fugato movement) and life as a preparatory stage for an afterlife (the chorale).

Halfway through the movement, Britten employs a diatonic fugato that concludes in G-Major.

The famous Passacaglia interlude in Act II was initially intended as a "boy's suffering fugato."

Fourth "movement": fugato finale on the themes of the first and third "movements" (begins at "Allegro energico")

Finale fugato (Allegro vivace)