Fugue Workshop 2013

For those who have already finished, here are the scores

http://www.pianoconcerto.it/forum/index.php?/topic/2376-laboratorio-fuga-2013-elaborati/

I am doing the playback, reasonably public during the weekend (Monday at the latest), AleGozzo is in the same situation.

idem

rstrauss wrote:

this fugue is stressing me out quite a bit ... with that ascending octave jump that complicates things not a little.

I have also encountered some difficulties ... errors are popping up like mushrooms.

I would like to see some other solutions and then maybe I'll adjust my aim

Hot comment on "Ale & Frank feat. Corelli"

W O N D E R F U L ! ! !

great frank you made me look good !!

Guys, I must say I envy you very much. For starters, you managed to work together on a piece. It must be beautiful... and then the piece itself has incredible beauty and musicality.

Obviously, we are light-years away from the school model here.... always harmonically fresh, engaging in the orchestration, lots of fantasy in bending the subject to your desires.

I still need to analyze it properly at a formal level... it seems to me there is so much going on.

Well done

AleGozzo wrote:

great frank, you made me look good !!

You are a gentleman Ale, but I also sense things of yours ... you wrote it together, didn't you? (so says Frank)

Truly Fluid and I would even say Ethereal....Compliments...

In my opinion, written entirely by Frank and orchestrated by Ale.

At least that's what it seems to me from the style...By now I think I know the Frankstyle

Anyway, I really can't find the subject.

As usual, it is well hidden by the genius Frank

eheh yes I put the notes in too, but it was still an "accelerated fugue course" that taught me a lot

the subject is well hidden, keep looking ....

raffaeleb wrote:

Anyway, I really can't find the subject.

Try measure 118... between the lines (but not even that much at vc) it seems to me I can catch a glimpse of it....

little fire .... in the sense that at that point it is not a structural element, which instead exists.

First of all, I'll start by thanking those who have already intervened to show attention to our piece and for the compliments.

I can say that all the material is derived from the given subject; in some instances it is evident (Faria heard us well even if Ale is right), in others less... in others still, it is very difficult but it is there.

As far as the four-hands work is concerned, dear Raffaele, in reality we are talking about 50/50 between me and Ale:
if we count the notes, good Ale wrote a third of a fugue entirely on his own, just as I did in mine. For the rest, we actually wrote it four-hands.

As far as the orchestration is concerned, unlike the arrangement/transcription, it is contextual to the composition, so each person took care of their own part and at most, where we worked together... I "clipped" Ale's wings a bit... poor guy, he must have hated me...

The sense of unity in the piece is given by the fact that we made an effort to respect the initial choices in terms of syntax/language... and the material was created and combined four-hands in the strict sense.

Personally speaking, in several points I hear a lot of Ale and in others I hear a lot of myself... if I had written it completely, it would surely have been completely different, and as counterproof, in fact, I have another very different version in the works. Therefore, as I said during our first laboratory experiment, let us give to Caesar what is Caesar's.

AleGozzo wrote:

a little fire .... in the sense that at that point it is not a structural element, unlike what is actually there.

Truly an excellent job.

Honestly, I feel it is more Frank-ian than Gozz-ian, though not by a large margin, but that is the sensation.

In effect, I would have recognized the theme at 118, but from the clarinet with the contrary octave jump and the flute imitating it.

N.B. the bassoon will have to be played by someone with oversized lungs with those pedals at the end.

Thank you RStrauss

rstrauss wrote:

sincerely I feel it is more Frank-ian than Gozz-ian, though not by a large margin, but that is the sensation.

What do you mean by "not by a large margin"?

rstrauss wrote:

N.B. the bassoon will have to be played by someone with oversized lungs with those pedals at the end.

Let's just say it is a double-reed instrument and I let them try it ... they can do it, they can do it ... at worst they curse us a little bit

Given that I am writing a personal consideration that is more or less shareable

I find Ale & Frank's experience very illustrative of how, in a four-hands collaboration, from a certain point of view, the result achieves a stylistic signature closest to one with a more consolidated style; and indeed, while Ale's fugues from previous workshops do not present a common thread... Frank's have always shown what Raffaele defines as the 'Frank-style'. Even if this isn't strictly baroque, the signature is there.

Therefore, apart from not knowing the objectives of both, it is probable that they chose a certain solidity from the outset to achieve a coherence—I would say indeed monolithic in this case—smoothing over some differences for the sake of the result or the product, in order to translate the concept into a modern and professional context.

In short, in a team of composers and arrangers, the common goal of creating a good product leads (I think unconsciously) creativity toward the more "guaranteed" side, so the work belongs to both, but perhaps the stylistic signature leans more one way than the other.

Besides, when a leader leaves a band, the whole group suffers; the pop world is full of examples.

Frank wrote:

Grazie RStrauss

Cosa intendi con "non con un grande divario"?

I mean to say that the Frank-isms are not so preponderant as to make me say: here is a piece by Frank!

... but that upon careful examination and listening, they can be perceived, just as the Gozz-isms can also be perceived.

Forgive the neologisms ...

Frank wrote:

Diciamo che è uno strumento ad ancia doppia e l'ho fatto provare ...ce la fa, ce la fa ... alla peggio ci maledice un po'

treat him to a dinner!

two days and I deliver ...

it wasn't much, but I'll deliver it anyway ... I am sick of this flight, which has caused me no small amount of difficulty.

rstrauss wrote:

... I am nauseated by this fugue, which has caused me no small amount of difficulty.

I don't feel nausea ... but unlike Bach, I have my difficulties

But is the Subject in the end by Corelli?

PS

Compliments to AleGozzo and Frank

I listened, very well done, truly a piece constructed specifically for this.

I also "viewed" the score, which requires some time to be understood regardless.

Maybe I am wrong, but the subject is not present in a complete way, or I have completely gone mad.