The place of the fugue in music goes back to Gabrieli’s canzonas and ricercares from the late 1500s, and even today composers are reluctant to let go of the form.

But it was set aside until that most innovative of composers Joseph Haydn revived it, using them in three of his six ground-breaking Op. 20 “Sun” quartets of 1772.

J.S. Bach, of course, perfected the art of counterpoint and Mozart and Beethoven both brought them in for their big finishes. Mendelssohn and the Romantics were fond of a fugue, as were 20th century giants Britten and Shostakovich – neither of whom could pass up a passacaglia into the bargain.

Australian Haydn Ensemble in the Utzon Room, Sydney Opera House. Photo supplied.

Skye McIntosh tracked part of the fugue’s history in the opening programme of the Australian Haydn Ensemble’s 2023 season with three of her colleagues – violinist Matthew Greco, violist Karina Schmitz and cellist Daniel Yeadon.

The ensemble’s Artistic Director chose the first four Contrapuncti from Bach’s Art of Fugue as a starting point.

Greco led the first, setting in motion the four interweaving voices, pure and serene. Then Yeadon’s cello launched the jaunty...