Fugue Workshop 2012

I don't think I can make it, I've had a lot to do (I also wrote to you privately, Frank, for more clarification), I have only written one page. I can post what I have written if you want.

I realized that the activity is beyond my abilities. I haven't written almost anything, but anyway I will try to manage to deliver.

I would hope that this initiative also had as a goal the careful analysis of the compositions presented in such a way as to be a learning platform for those like me who want to learn.

If possible, I may deliver late. I won't make it by the 30th. I will try, but I cannot guarantee it.

TheSimon, don't worry... this is ongoing, it's a shame to deprive oneself of the pleasure of listening to the results.

Just one thing, but where is the attachment? Do you see it?

Oh come no, I'll try, even if it will be a scandal! ahahah

Which attachment?

TheSimon wrote:

If possible, I might deliver late. I won't make it by the 30th. I'll try, but I can't guarantee it.

In fact, there is no way, it says not to publish before... after that, it's always possible 😉

I am perpetually late 😃

I wrote:

>Write a fugue on the attached subject

there was an attachment.. I'll try again 😉

sisifo1987 wrote:

I would hope that this initiative also has the aim of carefully analyzing the compositions presented so as to be a learning resource for those like me who want to learn.

Usually useful comments arrive and anyway, just looking at what others have done to get through it works 😉

In about ten days we will see 😉

Ok, now the attachment has appeared!

Here are the scores

http://www.pianoconcerto.it/forum/index.php?/topic/714-laboratorio-fuga-2012-elaborati/

Now I understand what it meant when I was reading: it's better to try and then compare your own solutions with those of others... after having bumped my nose on it, I must say it is very useful.

I ask you not to hesitate, keep in mind that I don't have twenty years of experience on the subject ...

Question for Raffaele, I was looking at your score a bit and I noticed that your answer, referring to the head of the S, does not respect the mutation; if intended, what is the reasoning behind it?

In reality, even the tail, you drew the answer in a somewhat strange way... certainly differently from mine, but I would like to understand the reasoning

It is a really nice workshop. A quick reaction/immediate comment. The first one I listened to is Roberto Altieri's fugue, and let's just say I reserve the right to listen to it more carefully again.

I really liked Alessandro Gozzo's fugue upon first listen.

Frank's fugue is very recognizable in its style. I would recognize it among a thousand due to the effective management of the bassoon and strings.

The organist's fugue struck me for its essentiality, but at the same time, it seemed a bit short to me; let's say I still have the desire to listen to a bit more (of course, the term 'fughetta' was well-placed).

It should be premised that these are immediate comments.

I still have to assimilate them and obviously I will comment further.

raffaeleb wrote:

The organist's fugue struck me for its essentiality, but at the same time it seemed a bit short to me; let's just say I am still left with the desire to listen to it a little longer (certainly the term 'fughetta' was well-placed).

Thank you Raffaele, indeed regarding the stretto I wasn't able to say anything :(

well, I would say that Altieri and Frank deserve to be examined carefully because you can immediately see the touch of a professional. In particular, I liked Frank's very much, while Altieri's suffers a bit from the slow tempo, in my opinion.

also those by Organista and Raffaele are nonetheless pleasant to listen to and I hope to be able to watch them carefully.

one immediate note on Raffaele: that anapestic rhythm that enters suddenly in the countersubject (contrasted with the dactylic subject) is a bit of an "eyesore" to me, perhaps it should have been introduced with more caution

Difficult subject, there are those who treated it tonally... those who made mutations as required, and I only realized now that the head could have been mutated in 2 different ways.

I congratulate everyone for reaching the end

let's start pestering you with questions frank

1- is the harmonic interpretation of your answer correct?

2- is it considered a response in E major or minor?

3- I don't understand that re .... surely because of the underlying delay, but harmonically how do you consider it?

4- using that parallelism in important figurations surprises me. Am I mistaken? Are these textbook pedantries? What's the deal??

Beautiful initiative. As a new member, my most sincere compliments to the composers who have taken part in this initiative.

AleGozzo wrote:

2- is it considered a response in E major or minor?

I was thinking about the same issue and I'll venture my opinion; in my view, it is quite clear at measure 4: I V/IV IV of e-.