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jawoodruff, SYS65, wayne-scales, HeckelphoneNYC, jrcramer, Mabry, calle, htgunnell, Ian, JohnPax, Stephenviandri, studentcomposer, xiangyik
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File Information
- Submitted: Sep 08 2011 01:02 PM
- Last Updated: Sep 08 2011 01:02 PM
- File Size: 6.27MB
- Views: 1275
- Downloads: 427
- Genre: Contemporary
- Sub Genre: Neo-classicism
- Form: Fugue
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Prelude and Fugue in D major
1 Votes
0
I'd really, really, really appreciate some comments, please?
Programme notes
Prelude and Fugue 5 in D major (6' 31")
Prelude
The prelude is (yet again) in pseudo-sonata form. The two subjects are a sequence of paired slurred notes and a quick fleeting figure based on 'oscillating tritones'. The ostinato (syncopated crotches phrased in 7/4 as opposed to 7/8) appears throughout the entire prelude, except in bars 36, 41 and 42. Of note is the development episode starting from ms 29 (development proper starts at ms 17) - the phrases are diminished over the course of the bars leading up to bar 37, where the ostinato in three rhythms - plain, diminished once and diminished twice - is played in sequential juxtaposition in the left hand.
Fugue
This is a curious fugue. The exposition is in the order ATBS, with the first answer in the relative minor for a change. There are three quotations in the fugue, although they are generally appropriated to fit the prelude and the developmental episodes of the fugue. Also, the fugue incorporates some ideas previously heard in the prelude, and these are rather obvious - for example, ms 29 is almost a parallel to ms 37.
Programme notes
Prelude and Fugue 5 in D major (6' 31")
Prelude
The prelude is (yet again) in pseudo-sonata form. The two subjects are a sequence of paired slurred notes and a quick fleeting figure based on 'oscillating tritones'. The ostinato (syncopated crotches phrased in 7/4 as opposed to 7/8) appears throughout the entire prelude, except in bars 36, 41 and 42. Of note is the development episode starting from ms 29 (development proper starts at ms 17) - the phrases are diminished over the course of the bars leading up to bar 37, where the ostinato in three rhythms - plain, diminished once and diminished twice - is played in sequential juxtaposition in the left hand.
Fugue
This is a curious fugue. The exposition is in the order ATBS, with the first answer in the relative minor for a change. There are three quotations in the fugue, although they are generally appropriated to fit the prelude and the developmental episodes of the fugue. Also, the fugue incorporates some ideas previously heard in the prelude, and these are rather obvious - for example, ms 29 is almost a parallel to ms 37.
Spoiler
Very strong, sounds terrific, just I wonder if you can play that ? some parts didn't look very playable, but only "seem".
I think your language and your title go into different directions, because it sounded much better for me in the prelude, the fugue was like part of another work, the counterpoint somehow stopped that strength of the initial part. maybe a sonata ?
if you can play this, then ignore what I said... but I definitely liked this.
I think your language and your title go into different directions, because it sounded much better for me in the prelude, the fugue was like part of another work, the counterpoint somehow stopped that strength of the initial part. maybe a sonata ?
if you can play this, then ignore what I said... but I definitely liked this.
Prelude
As above, this was my preferred of the two, as well. I liked the use of a minor 2nd in ms. 8 and the aggressive chord in ms. 11 with the following 4th/5th bounces. I think the glisses in ms. 39 are hard to play and I disagree with using three staves, here: I think two with an instance of cross-staff would be much clearer. Ms. 42 was difficult to understand, I thought: it didn't seem to come from the previous material very fluidly nor did it justify its presence in the following parts, to my ear, at any rate. I think the score could use a little cleaning: some of the measures weren't exactly easy to read; 19, 37, 38, and 54 not least among them. I liked the last two measures a lot; both a nice ending and a nice intro to the fugue, in my opinion.
Fugue
I wonder why you rewrote the tempo that way instead of either using the same marking as the prelude, or marking 'L'istesso tempo'. I disliked the answer's entry, at first, because of the overlap, but it grew on me with its quirky character, and now I think it sounds charming and inventive; almost like it's not so much an entry of a voice as the splitting off of one. I like how you seem to be, consciously or subconsciously, developing themes throughout the series of preludes and fugues; compare, for example, mss. 14 & 15 of this fugue with mss. 36 & 38 of your C major one. I thought the latter part of the fugue was more gripping than the start, but, overall, I can't say that this is one of your more interesting fugues. If I were you, I'd drop the X in ms. 39. I really did like the usage of material from the prelude in the fugue, and this is something I'd enjoy hearing more often. Similar remarks to above about the dirty score hold for the fugue.
Overall, I liked it, though I would've liked to hear sections of greater contrast and a fugue with a little more character.
As above, this was my preferred of the two, as well. I liked the use of a minor 2nd in ms. 8 and the aggressive chord in ms. 11 with the following 4th/5th bounces. I think the glisses in ms. 39 are hard to play and I disagree with using three staves, here: I think two with an instance of cross-staff would be much clearer. Ms. 42 was difficult to understand, I thought: it didn't seem to come from the previous material very fluidly nor did it justify its presence in the following parts, to my ear, at any rate. I think the score could use a little cleaning: some of the measures weren't exactly easy to read; 19, 37, 38, and 54 not least among them. I liked the last two measures a lot; both a nice ending and a nice intro to the fugue, in my opinion.
Fugue
I wonder why you rewrote the tempo that way instead of either using the same marking as the prelude, or marking 'L'istesso tempo'. I disliked the answer's entry, at first, because of the overlap, but it grew on me with its quirky character, and now I think it sounds charming and inventive; almost like it's not so much an entry of a voice as the splitting off of one. I like how you seem to be, consciously or subconsciously, developing themes throughout the series of preludes and fugues; compare, for example, mss. 14 & 15 of this fugue with mss. 36 & 38 of your C major one. I thought the latter part of the fugue was more gripping than the start, but, overall, I can't say that this is one of your more interesting fugues. If I were you, I'd drop the X in ms. 39. I really did like the usage of material from the prelude in the fugue, and this is something I'd enjoy hearing more often. Similar remarks to above about the dirty score hold for the fugue.
Overall, I liked it, though I would've liked to hear sections of greater contrast and a fugue with a little more character.
I loved this, as usual!
The intro sounded like a Christmas theme! I was like..."woah did I click the right link?" but within 20 seconds it completely sounded like you. A little more contrast, I agree.
Other than that, and the fact that this is HARD (not in a bad way) I loved it!
The intro sounded like a Christmas theme! I was like..."woah did I click the right link?" but within 20 seconds it completely sounded like you. A little more contrast, I agree.
Other than that, and the fact that this is HARD (not in a bad way) I loved it!
So, asking friendly causes YC to respond with 5 reviews in 2 days. That is a record! nice 
I'll address now only some things, but I'll maybe later return to re-review
I think you'll hate this, but I think the prelude is better too. Nice to see you play with new time sigs (can't remember seeing you useing 7/8, or the likes, before). But besides that you also obscure the 7/8 feel using ties. Interesting.
I think it is good that you loosen up concerning the entry of fugue subjects, especially when your music starts to become somewhat less grounded in tradition harmony.
Too bad this only applies to the Sopr entry (the bass is more regular again. BTW I thought the intermezzo between 2nd and 3rd entry was ok, but did not expect one as well between 3rd and 4rth. Must be difficult me being tradition when the 'rhythm' of entries is concerned, but not the height of each individual entry...
I'll address now only some things, but I'll maybe later return to re-review
I think you'll hate this, but I think the prelude is better too. Nice to see you play with new time sigs (can't remember seeing you useing 7/8, or the likes, before). But besides that you also obscure the 7/8 feel using ties. Interesting.
I think it is good that you loosen up concerning the entry of fugue subjects, especially when your music starts to become somewhat less grounded in tradition harmony.
Too bad this only applies to the Sopr entry (the bass is more regular again. BTW I thought the intermezzo between 2nd and 3rd entry was ok, but did not expect one as well between 3rd and 4rth. Must be difficult me being tradition when the 'rhythm' of entries is concerned, but not the height of each individual entry...
Small note : bars 42 (prelude) and 62 (fugue) are constructed out of diminished sevenths; in bar 42 the two chords (D,F,G#,B and Eb, C and A) are superimposed on each other, is somewhat related to ms 14, and represents a development of the octave skips. Measure 62 (A,F#,Eb,C) is, of course, a parallel to measure 42.
How did you realize this piece (and others)? They'd come across even better with a bit wider range of dynamics.
Now here's a silly question, or more of a demand, I suppose...please tell me that your real name is John Bucket and not Lim Cheng Wei. When I first saw that login, it reminded me of the name of some old English composers...you know, like John Bull. I thought to myself, now there's a really great name for a composer to have. (Just kidding, of course. If Lim Cheng Wei is your real name, then I'm sure you'll do fine by it!)
Now here's a silly question, or more of a demand, I suppose...please tell me that your real name is John Bucket and not Lim Cheng Wei. When I first saw that login, it reminded me of the name of some old English composers...you know, like John Bull. I thought to myself, now there's a really great name for a composer to have. (Just kidding, of course. If Lim Cheng Wei is your real name, then I'm sure you'll do fine by it!)
Mabry, on 12 October 2011 - 10:00 AM, said:
How did you realize this piece (and others)? They'd come across even better with a bit wider range of dynamics.
Sibelius 6's sound library.
Mabry, on 12 October 2011 - 10:00 AM, said:
Now here's a silly question, or more of a demand, I suppose... please tell me that your real name is John Bucket ...
Don't be ridiculous!
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Fugue: I'm not really sure where to begin on this one. Your fugue structure is good and you have a good grasp of counterpoint but... there was something lacking. I think it had more to do with direction of the piece - the contrapuntal episodes and statements of the subject/countersubject(s) were in line, but there was no overall direction for the piece. I think also perhaps introducing new contrapuntal variants would be advisable. Perhaps study a bit of dissonance counterpoint or work on perhaps adding in some more chromatically oriented contrapuntal material derived from your subject? The options are really endless.
Nice work. Thanks for sharing!