This was generally straightforward, but the real 4-voice part mm. 39-45 was challenging, esp. preserving intent in the face of widespread "beginners'" 6-4 chords, whose evasion underlies the history of the tonal answer system of fuguery.
Part of the tutorial https://musescore.org/en/node/270844 .This score is configured to use a MuseScore instrument which is the carefully-parameterized Hauptwerk organ at St. Anne's, Moseley. It has registration changes in it (to be uploaded). Nevertheless, I have directed the channels to the Grabowski image of the Mascioni organ at Giubiasco, and hand-registered it, which produces a much more beautiful recording. If you use the MuseScore audio source, you will hear flutes and recorders (which are not all bad!)
If you want to hear St. Anne on the St. Anne's Moseley organ, with the SDRC (score-directed registration control) operating, choose the "Moseley...." audio source.
Example to accompany https://musescore.org/en/node/270844 (q.v.). In spite of the tune name, this is not recorded by Hauptwerk at St. Anne's Moseley, but at the Mascioni organ (digitized by Piotr Grabowski) at Giubiasco, Switzerland. If you select "MuseScore" as audio source, you will hear the oboe etc as written on the score, as advertised.
4 parts •
6 pages •
a month ago •
Nuovo, al conpleanno. Ispirato per il soggietto della fuga https://musescore.com/simonlecaulle/fugue_n_8_si_mineur di Lecaulle, BWV 538, и "Внуши, Боже, молитву мою" d'Arcangelschi (Архангельского). Registrato sull'imagine di Grabowski dell'organo Mascioni di Giubiasco, per Hauptwerk.
1 part •
8 pages •
a month ago •
The slow middle movement of Schubert’s penultimate Sonata, with its predecessor and successor published posthumously, is one of singular tragedy and poignance. You can read about its history and formal structure here: https://en.wikipedia.org/wiki/Schubert%27s_last_sonatas . To me, its emotional rhetoric is its gravamen. Its main theme is a gently-plodding lament in 3/8, in F# minor, suggesting quiet resignation to tragedy, which rises in the central section to chromatic rage in triplets, diminished-sevenths, bass trills, fiery scales and crashing sforzando chords, before its climatic thunderclaps, whereupon it sinks back into quietude, into the gentle sunlight of C# major, which is revealed as only a huge dominant to the gloomy return of the F# minor lament, sung in the alto, descending diminuendo into a deathly silence.
Not a happy piece.
To me, this movement will forever be associated with a classic film using it as a soundtrack, Robert Bresson’s deeply affecting and renowned classic, “Au Hasard Balthazar” of 1966, surely one of the most powerful and tragic works of art I have ever seen or heard (Wikipedia: https://en.wikipedia.org/wiki/Au_Hasard_Balthazar ). Bresson, a pious Catholic, authored this utterly unconventional fable of an innocent who quietly and passively bears the sins of the world, its tragic message, rhetoric and dramatic arc perfectly matching those of Schubert’s Andantino.
Not a happy movie.
But I hope you enjoy the work I did on this performance anyway. All the dynamics and articulations are Schubert's.