Prelude and Fugue in C major

omg the big leaps in both hands are kinda epic!!but just one note: that may not be possible to play it with that speed(quite fast) though

wow i like how you seem to be doing subtle variations on the theme in the prelude, very interesting! For example: what you did in m20 onwards to mimic the theme in a different way!

i like your fugue the most! I like how you are able to manipulate a simple c major key into so many different keys! If I were to do a chord analysis on your piece...i would most probably be sweating so much lol

I like the fugue better too (We Wish You A Merry Christmas? ). I'd say that the repeated notes in the bass can be played at that speed using alternating fingers; but I'm not so sure about the repeated chords...

I wonder if there could be a quiet (slower?) passage? Or would that not suit the prelude and fugue form?

As always, I love the voice leading, and I thought the tempo alterations were perfect! As with your second miniature, the rhythms are more conventional; but I think it works as well as your unconventional time did in the first miniature; there were plenty of things to keep me interested.

Brilliant, as always!

I like the prelude over the Fugue. I think it has most to do with the harmonic palette. Where your music often reminds me of Shosty, this one sounded more like Prokofiev.

The structure was maybe a bit too complex for a simple prelude. But I liked the conciseness.
I do not get though, why you describe it as having "one theme". I disagree. I would say The B theme agrees with all the classical rules connected. B starts at ms 9 in G, the dominant, the exposition is repeated, The recap of B (53) is the home key.
I feel the texture is different enough to call it B in stead of A...

Everything here is certainly playable, although difficult as usual, which discourages potential performers, including yourself. I also liked the prelude more than the fugue, because of the simplicity of the form (it is very simple compared to the fugue) and harmonic language. Also: seventh chords. I don't see any obvious technical faults with either.

Jaap - The reason being that the texture is used different, yes, but the melodic line remains essentially the same. In the development this is reversed - the texture form the second "section" is paired with a motive form the first "section". But yes, it is also correct to see the two as different sections, and yes it fits nicely into the traditional sonata-allegro form. I see the form to be similar to that of the first movement of the Moonlight Sonata.

The passage 25-40 in the prelude is definitely more Shosty though! (Though yeah the fugue is more Prok)

Ian(s) (lol) - I think the difficult part with the prelude would be the 32nd notes. The fugue is meant to be twice as slow (and no, not We Wish You a Merry Christmas!) as the prelude in terms of phrase rhythms. Might want to try playing it myself, although I would probably have to take it slower than what's written here.

Thanks for the input

As usual, you've really set a super-ambitious project for yourself. And, knowing you, you'll finish it

I love your wildly orchestral use of the piano, from its high, fleeting notes to the low rumbles and murmurs. It's all very imaginative, and maturely handled, in my opinion.

But it may be nice to also reel back some of the difficulty, as well as the registral contrasts, at certain moments through-out the piece, to sort of let the music "breathe" and give the audience a chance to digest what they've heard. (This may very well be the first time I've ever thought that a section of keeping things "in the middle" of the piano, so to speak, may help the rounded-ness of a piece of music ) This music isn't nearly as complex as some of the music you've made, but enough so that I can feel comfortable suggesting this.

Since this is the first prelude and fugue in a very long series of works, I certainly wouldn't expect you to change anything -- nor would I want you to, as it's really quite perfect as an introduction. My suggestion is for some of the future pieces in the series.

Another thing I enjoy about your pieces is that as wild and, in many ways, unfettered as it is, it nearly always has a sort of inherent dignity in it, somehow. I mean, even when you don't end in tonics (like you do here), or use crazy clusters, or even give sarcastic-ish commands to the performer in the score, it doesn't come across (to me, anyways) as something cynically put together. You seem to put a lot of real thought and effort into how you approach your works, and it automatically lends itself a certain appropriate seriousness. I hope I'm explaining myself well . . . ?

Anyways, thanks for sharing this, I REALLY enjoyed this Great work!

John,

For me, I'd have to say I like the Prelude over the Fugue. My one comment on the Prelude however is that you seemed to introduce wonderful ideas in passing - particularly in the left hand. For example, measures 42 - 45. I really love that bass pattern - and was saddened to not see it after in any sort of expanded format! The chords that follow in measures 46 - 49, I must admit, I didn't really care for. I felt they did more to hinder the overall movement of that passage instead of aide it. The fugue I felt was pretty common place really. The one thing that I loved was the more strident harmony present in it - I can easily see you moving in that direction! Thanks for sharing.

Jason Allen Ogden Woodruff

Interesting - I don't feel I have the technical background to really comment on the theory/structure, but I've listened to a couple of your pieces and I like how they seem to nod to both "classic" material (e.g. Bach etc.) and modern. I'll definitely repeat listens.