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When a second subject is introduced in the middle of the composition and afterwards worked up with the first subject, it is then called a fugue on two subjects.
A double fugue begins at once with two sub- jects in different parts, both of which are strict- ly treated throughout.
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etc.
There are also fugues with three subjects {triple fugue) ; a famous example is that in the finale of Mozart's C Major (Jupiter) Symphony. A free fugue is that in which the subject and counterpoint are not strictly treated throughout, but mixed up with episodes and ideas not con- nected with the subject. The fugue is not, as has been erroneously believed, a production of German genius. This form was gradually de- veloped from the canonic tricks of the Dutch masters by the great Italian masters of the sixteenth and seventeenth centuries — Merulo, Frescobaldi, Pasquini. It reached its highest development in the eighteenth century, in the works of Bach (instrumental) and Handel (vocal). Bach's fugues have never been equaled, and are, in fact, musical problems of great depth. He devoted a special work to the sub- ject. Die Kunst der Fuge (1749). His Inven- tionen and wohltemperirte Klavier (1722) are necessary to every pianist, and his Musikalisches Opfer, elaborated on a theme given to him by Frederick the Great in 1747, are among his best examples. Handel ranks next to Bach. Cele- brated treatises on fugues are by Mattheson, Marpurg, Fux, Albrechtsberger, Andr6, Marx, Lobe, Jadassohn, Cherubini, and F6tis.
FUH-CHOW, foo'chou'. See Fu-Chow.
FUH-HI, or FO-HI, foo'he'. A legendary or semi-mythical chieftain of China, the first of the Wu-ti or 'Five Rulers,' who emerge in succession from the haze of the purely mythical period of Chinese history, and who were succeeded about B.C. 2356 by Yao, with whose reign the Chinese historical classic known as the Shu King opens.
