I have listened to the scherzo of Beethoven's Piano Sonata op. 2 no. 3 and it is very fugal in nature. It even has a fugal exposition(though it is dominant, dominant, dominant, dominant of dominant, in terms of the key in which each voice appears, which Bach would never do), which I think is unusual, especially for an early Beethoven piece. Now I'm not saying fugal passages aren't common in Beethoven's pieces because they are. But they usually don't have a true exposition and are thus more like a canon in that sense than a fugue(except that a canon wouldn't have countersubjects, just the same melody delayed and maybe also transposed). This scherzo actually has a true exposition.
Albeit, the trio is very much arpeggios over a bass line which is not fugal at all. But the Scherzo part of the Scherzo and Trio movement is fugal in nature.
Could this Scherzo actually be considered a fugue since it has not only imitation and countersubjects(well at least 1 after the first repeat), but a full exposition(albeit it breaks some Baroque 4 part counterpoint rules, but Beethoven was an innovative composer who broke the rules because they deserved to be broken)?