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.
1 part •
8 pages •
2 months 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.
@Penne Vodka's Frolovskoe subject from https://musescore.com/user/29586932/scores/5418289 with improved harmonic scheme. The main point is the handing of the very unusual downward augmented fourth. Cf. BWV 869.2. Piano-roll phrasings and piano slurs help here.
Asked-for corrections to https://musescore.com/user/2274351/scores/5311626 , I was really impressed with Robert Bailey's fugue there—the rhetoric, the chromaticism, the subject, the depth ... but the counterpoint, although quite impressive, could stand improvement. So I gave him some pointers/lessons there, and fixed up the 28 measures he had, to his great delight.
2 parts •
12 pages •
11 months ago •
Corrections to https://musescore.com/user/23479051/scores/5130623 . Most in involve unwanted 4ths/6-4's, inconsistent harmonic rhythms disagreeing about what passing tones are, occasional par. 8ve/5e, and common Baroque gestures (e.g., the suspension chain in 12-14 et al.) that @km didn't have good models for. I like his fugue very, very much! Posted with his blessing.
Published with permission, a rewrite of https://musescore.com/stephenm/prelude-a-minor by Stephen MacLellan (q.v.), to (1) fix its technical problems (2) explore and polish its substantial beauty at a more caring tempo (3) create anew while building on the same (4) serve as a lesson in fixing such problems/gestures. Most measure-designs retained; a few replaced as noted. Measures are 1-1 with the original.
The original, by its rhythm and gestures, reflects the influence and textures of all Baroque allemandes, but at a breakneck "virtuoso Baroque piano music" speed 2x too fast for such. Corrected here, faciliating occasional elaboration in 32d notes and typical allemande cadences and other gestures and "Bach hacks".
A major component of the work was recognizing patterns whose elaborations could be refashioned to mutually conform.