Fuga 05-15-2018 (di BSG)

Uploaded on May 16, 2018

An austere fugue for mid-May.

fugue counterpoint Greenberg

Pages 4
Duration 03:23
Measures 59
Key signature 1 flat
Parts 2
Part names Piano, Cello
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Something between Bach and Shostakovich?
Shostakovich!? What exactly did you find 20th-century herein?
Wow! It's awesome to see a great teacher write his own fugues from time to time. It really solidifies everything you teach all of us here on musescore! Great work!
Argggh! You figured out why I did it! I have nowhere to hide! Yes, indeed. Thank you very much for your kind remarks! (and do note that Bob Lucassen's comments about "Grand Plan" are qute valid, too!)
It feels a bit awkward for me to critize your work, especially this magnificent fugue, but 4 eyes see more than two so perhaps it's useful to you. ----

You have a section in A at M.17 for 3 measures, then you go back to D for 3 measures, then you go back to A up till m.28. Would it not be much more convincing to not go back to D but instead maintain A or even modulate to E? The glorious return of the stretto in the tonic after that cadence on the dominant would be much better. WTC I, C maj. fugue does this Tonic -> Dominant -> Super tonic -> Dominant [Cadence] -> Immediate Stretto in Tonic, you have exactly this structure but with the super tonic replaced with the tonic which removes the tension. ----

I would even increase the clear break at M.28 by removing that C# and moving the A half note forward by a quarter, again imitating WTC I C maj. Letting that amazing moment breathe a bit ----

Why didn't you do a 4 part stretto at the end with another high D entry at M.54 halfway the bar? It ends on a high A (highest note on the piece!) in m.56 just before the bass walks to that low A, it's so beautiful ----

There are numerous possible stretti between this theme in augmentation and it's inversion, like D in augmention + A in inversion starting at the same time. You could get a real WTC I D#m vibe going. The theme allows almost the same stretti ---

I have more but it becomes increasingly subjective.

These are all reasonable "could have beens", but "what I have written, I have written." I could have put more time into imposing a more directed key-plan upon the expositions. I was actually trying to create a kind of modal, "don't try to call a key" feel on it (e.g., mm. 5-6), but it could be better. Yes, there are prolation canon possiibilities I did not explore. WRT the D# min WTC-I, I heard too many echos of it while writing this, and began to fear subconscious copying. Thanks for your very, very careful reading ...
It's a great piece either way, you can never just stuff everything in there right :)
Thanks again. The fact that you see its birthmarks attests to your seeing its beauty.
Beautiful. It reminds me of the WTC I B minor prelude. But there is just so much going on, the motivic development troughout is great and those stretti in inversion just work so perfectly, this is a really really nice fugue. I'll see if can find anything I would actually like to dicuss but that'll require more in depth analysis.
Excuse me.
What do you call B minor?
Is it American B minor? Or H flat minor?
Unfortunately, I can not get used to the fact that B = H, because I was taught differently. But here we are around Bach's music, so I do not even understand what kind of key is it?
English/American B Minor = German H-moll. The great mass is called the "B Minor Mass" in America and the UK.
Thank you! So, if you said "Minor" I understand, that you mean "clear Si". And if you'll say "B-moll", I'll be sure, that you mean "Si flat".
I doubted because Bach was German — he couldn't have said "B", meaning "H". (Sorry, I am too...)
He was Thuringian/Saxon; Germany didn't exist yet, but he spoke what English speakers now call "German". "B-moll" German = "B♭minor" USA/UK.
Yes, Bernard, you're right!
Thank you for reminding that Germany was formed much later...
Thank you so much for looking into it so deeply; as you know, I venerate the B minor prelude, so that's a high compliment.
Congratz BSG with this new and stunning work!
Very nice, with inversions and stretto's and all the works, and it still sounds lovely.
Thanks -- glad you saw all that!
Thank you so much!! "It would be impossible without the unison-collision fix!"