6 Preludes and Fugues

From a set of 6 preludes and fugues. I upload here some of the movements.I started this project in 2003 and recently rediscovered it, and wanted to share it here. I uploaded the scores now (not all are very pretty :s)

6 Preludes and Fugues

I normally complain about compositions uploaded without a score, but even from the MIDI rendering of these pieces it was clear how well-written they were. You write in a very original sound-world (slight hints of Messiaen and Hindemith), and your knowledge of counterpoint is obviously highly developed. In particular the fugue subjects were very different to what I was expecting and you create interesting developments out of them, and none of the pieces sound too similar to each other. The preludes also contrast well with the fugues by not having too much counterpoint and being more drawn-out in development. I'd say in general the fugues could stand being a bit longer as they seem to be overshadowed by the preludes in length, and for me the fugue is the more important of the two. Occasionally a movement sounds as if it has finished too quickly as well. Would love to see the score and the other two preludes and fugues. Well done.

hi siwi. Thank you so much for your review; it made me happy

The scores; I agree and usualy post them the same time. I have to fix them, because this is an old project and the scores are a mess. I think I'll upload them tomorrow.

As I mentioned early its an old project. At that time I did not like (still not so much te case) nor understand Messiaen. I think this is way too tonal to be comapred to his modal writing. I have been a bit interested in his modes afterward, but that was not the case when I wrote this. But I agree there is French influence: I had listened a lot Dupre/Durufle and especially Jehan Alain. I like that you mention Hindemith. I think I did not know him at the time I wrote this. There is some harmonic quirkiness in his language I really appreciate.

About the missing movements, fugue 1 was never finished (yeah, I am a bit weird) and 3 I am not quite satisfied with. But I'll maybe post them with the score tomorrow I hope.

I agree you focus on the fugues, being more interesting than the preludes. I am not sure if I agree. I think fugues drag on for too long, so I like them quick clear and to the point. Can you specify when you felt it was too early finished?

update: I added prelude and fugue 3. I am very pleased with the prelude. But when I was working on the fugue, I felt it was a bit on the long side (this uncertanty was the reason for not posting it in the first place. but what the heck )

Please note the order is mixed up, please refer to the number in front to keep things clear.

Cool stuff you have here, Jrcramer!

--2 Prelude:

Very neat chord progressions, and as siwi said, clever writing. You have a great ending, and a nice middle in which you serve good contrast. When you go back to the beginning theme, though...it's basically note for note :dunno: It might be a prelude, but it seemed like the perfect place to really kick off and have a climax that shows off the organ player's skill. But that's just a suggestion.

I will also review the other ones in time, when I have the time :lol. Thanks for sharing with us! :cool:

Back!

----2 Fuga

--Interesting! Even from the start, with a melody without harmony, I was hooked by the color. Usually melody is lost without harmony, but you accomplished a real build-up by adding harmony about 30ish seconds later, great job with that! :phones:

--I also like the atmosphere of the piece: it sounds like a twisted, evil circus theme or something :blink: It's really quite eerie. All in all, I like it basically as it is :D

----4 Prelude

--This is decent work, but it's my least favorite of what I've heard so far: at about 1:40, I like the swell and interest of the piece, but before that, the rhythm and harmony feels really tame (Duuuuum, duhduhDummmm, etc.), and I was wondering where you were going to go with it, but not in a great way. That's just how it struck me :dunno: It felt the least adventurous out of everything I've heard so far.

----4 Fuga

--Wow, I can't explain it, but it reminded me of the famous Mario theme for some reason :blink: All the 3rds are probably the reason. I like it! It's kind of dissonant in a special, dreamy, trippy way. I don't really have much to say about this one, but good job :thumbsup:

To be continued! :o

Video Review on Prelude 6!

http://www.youtube.com/watch?v=frMPxog1YB8

Hi Jason. this was nice. The video adds to the dimension of someone else studying your music.

At first I thought you showed ms 11 because of the huge gap, that makes it difficult to play, and in this way stops the perpetual flow of the piece. But later I think you meant the disruption of the flow of 16ths. Is this correct?

For me there is indeed a continuous flow, but of 8ths, and not of 16ths. They are for me just like written trills (see how they are introduced in ms 7 or later in ms 12) The other thing in ms 14 you think wont work works for me, since the right hand accentuates the 3rd ot each eight, and the last part of the left hand is like a duplet against the silent motion of 3 eights per beat. In doing so a written ritenuto. Then stop of flow of 16th is like a pause to take a breath, while the flow of 8ths is not disrupted. Even in ms 31 the higher notes form the melody of the theme, and give a motion in 8ths.

I think this is how I would interpret the difference of how we heard the piece.

Makes sense?

Hi Jason. this was nice. The video adds to the dimension of someone else studying your music.

At first I thought you showed ms 11 because of the huge gap, that makes it difficult to play, and in this way stops the perpetual flow of the piece. But later I think you meant the disruption of the flow of 16ths. Is this correct?

For me there is indeed a continuous flow, but of 8ths, and not of 16ths. They are for me just like written trills (see how they are introduced in ms 7 or later in ms 12) The other thing in ms 14 you think wont work works for me, since the right hand accentuates the 3rd ot each eight, and the last part of the left hand is like a duplet against the silent motion of 3 eights per beat. In doing so a written ritenuto. Then stop of flow of 16th is like a pause to take a breath, while the flow of 8ths is not disrupted. Even in ms 31 the higher notes form the melody of the theme, and give a motion in 8ths.

I think this is how I would interpret the difference of how we heard the piece.

Makes sense?

Yes, agreed. It's very subjective. I heard stops there that to me disrupted the flow more than need be. That's not necessarily a bad thing - just for me, I would've rather the continuous flow been better perserved.

the pieces remember Hindemith but also Messiaen and, for the cromaticism Cesar Franck

is very interesting for the texture

hm. never thought Franck was a influence :)

thanks for the comment

The files are not there anymore. You should upload them again.

Thanks Ian for letting me know. I have reuploaded the music and scores. In an attemt to reorder it it got even more mixed up. Be sure to listen the right prelude with the right fugue