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No, I never have. I tend not to revise pieces once I deem them finished, rather allowing them to serve as a evidence of who I was as a composer at that particular point in time - warts and all. I'm going to look more closely at your comment when I get home, and perhaps just for the sake of edification, I may try to re-write the bass entrance; it's the only thing marring an otherwise satisfying movement. I would still want to end up at the same place for the pedal point because I rather like the tension built up and resolved there, but with a quick modulation, that's likely quite possible.
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If you do decide to re-write the fugato, I would be interested in hearing it. No one else has commented on it in this thread, but I think it may serve as part of the instruction in fuges. I'm still not seeing how the Dominant(key) establishes the tonality, besides it being (like the Subdominant) of the same nature (major or minor) as the tonic.
I started a short little fuge recently - nothing earth shattering, on a Tonic-SubMediant-Tonic-Submediant exposition plan. It's different - and if it's not a fuge simply because it doesn't follow what's commonly done on that one point, I'd like to know exactly what it is.
I may post it later when I finish it if your interested.
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I'm glad! I decided not to post the whole Mass here because YC people don't really pay much attention to choral music, for whatever reason, and also because this is a rather personal religious expression.
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I love choral music - only wish more of it was in English. I don't remember all the Latin. I've recently ordered the scores for Bach's B minor Mass and Mozart's Mass in Cminor - K 427 for study.
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I don't know if you're familiar with Mozart's early Masses written in Salzburg, but this Missa Brevis is built on that model. The Archbishop was a rather secular clergyman and didn't like to spend much time saying Mass, so he gave directions to Mozart that his settings for the Canon of the Mass should in their entirety take up no more than "a quarter of an hour." They're also scored for relatively modest forces, though festively arrayed: mixed chorus with soloists, 2 trumpets, timpani, 2 violins and continuo - also the scoring of my piece. Mine differs from Mozart's primarily in that I have not set the Credo , on account of it not being liturgically feasible nowadays; I was trying for a setting at once artistic and viable liturgically.
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I know you can recommend a good biography in book form. Classical music changed my life, and Mozart's in particular - although I've never bothered to look in depth into the history. I watch the movie at least twice a year though - I know it's probably inaccurate - but I enjoy it every time.