Are there also 36-hour time limits for the Fugue? I thought 18 hours were the standard, and that 36 were reserved only for the Diploma ... but I don't know if anything has changed with the new regulations!
And anyway, to write a good Fugue, perhaps without the help of the piano, 36 hours wouldn't have seemed like an exaggeration to me, after all!
These are the courses that used to be called "experimental" ... before the AFAM, but there are still some enrolled. If 36 seems not too exaggerated to you ... think of those who instead had to write it in 18.
Now I say, in the new academic (or pre-academic) courses... where does the composer's figure come from? Practically, one graduates and doesn't even know if they will ever be able to write a fugue on their own, not saying a decent one, but at least one rated "decent" by a commission (hopefully of musicians).
and this is the classic example I was referring to, and for me the presence or absence of a text makes a difference; or rather, the type of articulation/"flourish" that I proposed to you for the CS could be plausible even in a vocal context, it depends precisely on the text which unfortunately isn't there. So for what purpose write for a vocal ensemble? Obviously I am not asking you, Cristian. Anyway, I reserve the right to express an opinion (more or less sensible) on your work after having analyzed the score
and this is the classic example I was referring to, and for me the presence or absence of a text makes a difference; or rather, the type of articulation/"flourish" that I proposed to you for the CS could be plausible even in a vocal context, it depends precisely on the text which unfortunately is not there. So for what purpose write for a vocal ensemble? Obviously I am not asking you, Cristian. Anyway, I reserve the right to express an opinion (more or less sensible) on your work after having analyzed the score
I don't know if Cristian wanted to write a fugue for voices, or if he used that type of ensemble just for convenience; in any case, in my opinion, apart from the lack of text, the proposed subject does not adapt very well to a vocal ensemble.
I was terribly wrong thinking it was by Bach because my memory of this S is so vivid that I thought it was by the great master.. unfortunately, however, in my life I have dedicated myself as much to Bach as to....Ge
Guys, I am going to be extremely busy in the next few days and I don't think I'll have any more time to refine it, so excuse me for publishing now (the time it takes to upload, if I understood how to do it).
Trouverete diversi file mp3 della stessa fuga, che ho scritto per tastiera: al piano, al cembalo e un paio all'organo (uno modesto, di una piccola chiesa di campagna olandese, l'altro ĆØ di un monastero in Slovenia). Insomma, mi ci sono divertito un po'...
And yet I find it very beautiful... in what sense "disappointed"? I am not surprised at all that it is by Mozart... and someone, I don't remember who, was explaining something about classicism. And indeed ....
And yet I find it very beautiful... in what sense "disappointed"? I am not surprised at all that it is by Mozart... and someone, I don't remember who, was explaining something about classicism. And indeed ....
But which one is the original work? KV what?
I was only referring to the remarks previously exchanged with Croma.
I also liked the theme, but I cannot say the same for the author's original elaboration.
If Frank agrees, I think the mystery can now be revealed, but let's hear what he says...
Now I understand, Frank's question was probably rhetorical; I checked in Gedalge (perhaps with "Ge" MicaMahler he actually meant Gedalge?) and on page 371, no. 96 he attributes the Subject to Mozart... so now only the Catalogue number is missing
