Prelude and Fugue (for flute and five strings)

Prelude and Fugue is scored for a sextet ensemble consisting of flute, violin, two violas, and two cellos. The piece is basically a modern interpretation of a traditional form. The Prelude of this piece is in a modified sonata form. Acting as a recurring element in the movement, the chord sequence presented at the beginning of the movement in the strings returns three more times during the Prelude, in various tonal areas. The Fugue is classically organized with respect to form, but with a modern, modal harmonic language. The movement progresses through tonal areas in a manner that parallels the harmonic progression of the Prelude’s development section: G, G-flat, E-flat, D, and ending on G. For a majority of the movement, each instrument is treated as an independent line, creating constant sixteenth-note motion and rhythmic excitement between the parts. At two points, though—one-third of the way through the movement, and the piece’s coda—the violin carries the fugue subject material while the other five instruments join together in a homophonic rhythm. These two sections provide a brief respite from the frantic rhythmic activity that characterizes most of the Fugue.Thanks so much for listening! (The complete score is found in the "Prelude" section.)

Prelude and Fugue (for flute and five strings)

I listened to the fugue first (prelude mp3 is not found...) so a short remark (then I head to class)

I like this very much. The harmonies are interesting. I loved the ostinato figure in the end, sort of replacing the pedal point. Great job, neat score. Well done

Thanks for listening! Not sure why the prelude mp3 isn't found... it seems to be working fine for me... maybe I'll try re-uploading it...

The prelude is working now. Wow, what a nice piece! Its nice to see how the B theme of the prelude is explored as the fugue subject. I like the choice of instruments. Interesting. I like the dark setting the violas and celli create. That will help the flute to stand out. I think.

Some remarks:

I liked the glissando crossing, prelude ms 81/2. A really interesting sound. Never heard that before (probably my fault ;) ), but nice effect.

I am not sure whether the tuplet figure in ms 91ff cello 2, will work. I think its too fast.

I think high cello lines could better be written in a tenor clef, ms 38, 89/90

Thanks again for listening. About the cello sixteenth-note-triplet thing--the piece was actually premiered last week, and the cellist played that figure as sort of a hammer-on, pull-off pizz type of thing, which is basically what I was going for. The third note of the triplet is pretty much inaudible (and the second is really quiet), but it's just the general feeling I was going for.

And definitely something to consider about the high cello parts being in tenor clef.... I'm not a cellist, so thanks for the input.