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It seems that in our modern time, interest in the fugal discipline is all but forgotten. With so few allusions to the topic on this board, I thought I might post one of my own examples of this rarest of endeavors:

Hallo Ray!

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Danke schoen, Herr Zinos. Please forward the appropriate routing to which I might remit agreed upon bribery.

Fredrick zinos said:

Kris,  I love the intensity of this music. The craftsmanship is excellent IMHO

Yes and no. I was yanking Ray's chain a bit, considering almost the entire discussion queue was populated by ones concerning fugue at the time of this posting, however, I would not flippantly dismiss the earnest discussion on double fugue and whatnot which it's incited.

H. S. Teoh said:

I'm pretty sure Kris was being at least partially facetious when he alluded to the fugal art being forgotten in contemporary times, but be that as it may...

Good to see someone else writing fugues, there are a few of us around, so the art is not forgotten!

I felt the fugal section didn't leave enough space between the opening subject and the new voice (which is your second subject instead of a countersubject?), Its pretty unusual to have 2 subjects exposed at the same time, and I think it defeats the purpose of the fugue - to create a piece from a single melody. The initial subject needs space to show its characteristics before being complemented by counter subjects / counterpoint, and the fugal section in this piece really lacked definition for me and didn't even feel like a fugue until you mentioned it was a double fugue with both subjects exposed at the same time. Even in this case, I would leave a bit more space between the statement of the first subject and the entry of the second subject - like in the double fugue in the opening of the Kyrie in Mozart's Requiem.

Here's some of my fugues if you're interested, I tend to stick to pretty traditional simple double fugues, with the second subject introduced only after the exposition of the first subject is complete - more like a second movement:

My latest fugue:

The last years worth of fugues (something like 20?):

If only the forgiving was as easy as the forgetting.

If memory serves, it was the largely forgotten composer Wilhelm E. Mendnellson who somewhat less than famously said, "Der Komponist, der vergessen, aber nicht vergeben wird, kann niemals zitiert werden".

He also went on to state that forgiving takes a long time, but near toxic levels of THC can make everything seem to take a long time, or just plain tasty. Personally, I can't remember exactly how long it took me to forget the things I've forgotten.

Fredrick zinos said:

If only the forgiving was as easy as the forgetting.

Agreed. it is either very important or very unimportant to recall the exact moment in which one has forgotten something. Imagine, then, the difficulty of remembering that translucent moment in which one has forgotten everything,  

Der Komponist, vergessen, aber nicht vergeben, kann nie falsch zitiert werden

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