'Apparition' - Fugue for Piano - (3'30

[gregrorio j]

Three cacophonous cheers for Kristofer for getting  CF rolling again!

This is my latest.  The subject - the Idea of an apparition - huanted me, steered me (compositionally), - maybe even frightened me Haha -  from one moment to the next.  

For best results, listen in quiet darkness :0  :)) 

I'd love to hear your impressions! 

 

Cheers!

 

https://soundcloud.com/gregoriox88/apparition-fugue-for-piano-f3c

[gregrorio j]

Thanks you, Mike!
Im heartened by your response that it seemed intentional - musically.
This was the challenge, as I decided to make this a 12 tone fugue. So in fact, every note is intentional. (I do break the 'rule' a couple of times when the piece demanded it. ) It's can be a bit like writing with a straight jacket, but I wanted to see if through the confines, if I evoke a painterly/ visceral - (not heady) vibe.
Ive written 14 fugues, and not one of them has a prelude:) Of course, there is an art to the relation of a prelude to its fugue - as it should be. But after I finish writing a fugue, I feel that there's nothing more in this regard in the tank, even if the prelude's connection to the fugue is for contrast (setting it up), or for subtle echoes of what is to come. Thinking about this now, I guess I feel the pang of the lure - to see about the preludes.
In case you're curious, here's another 12 tone fugue I finished not too long ago. Only a couple of minutes long.
'Mockingbird'

[gregrorio j]

www.soundcloud.com/gregoriox88/fugue-mockingbird-f1

[HS Teoh]

I loved this one, it's one of the most approachable 12-tone pieces I've encountered so far.

[gregrorio j]

This is great to hear HS! That means a lot!

[Mike Hewer]

Thumbs right up in the air again. Fleeting and fantastical and sounding all the hallmarks of a mature musicality as good as you'll hear imo. Interesting the comparison with HS's atonal fugue which was rather neat, memorable and technically excellent. Comprehension in that fugue was aided by the fact that the language was tempered somewhat with rhythmic conservatism. In contrast, yours has the rhythmic emancipation to do justice to the full expressionistic gamut of atonality which is where the language speaks at its most potent. Have you tried to relax the rules further or better still create your own parameters? It's a wild but exciting ride to venture off piste a little more whilst still holding on to the skis of course.
Why not use my trick of taking a motif from a fugue and using it in the accompanying prelude?

[gregrorio j]

Yes, I liked very much HS' "Wild Fugue" as well!
This is my 3rd 12 tone fugue. It, at first, was just a curiosity , as I wasn't too impressed with what I had heard composers do with just 12 tone, and I am unfamiliar (I should look this up)
with 12 tone fugues being written. I wanted to see if I held strictly to the form what I could do. With my fugues before that, my familiarity allowed more play with the 'guidelines'.
I feel that with my next attempt, I will have a bit more rope.
One thing that hit me while writing was something I read some decades ago: Schoenberg
was describing his approach using 2 sets of 6 tone rows. This idea really gave me a surge.
In the process, the ear can become very attuned to when a voice is repeated too soon in the linear layout. Almost an aversion, as one says, 'I just heard that!'. (Ive been somewhat sensitive that way, though, for sometime). Sometimes it was a bit difficult to hold the whole 12 sequence in my ear while playing with the theme, but when I broke it down to 6+6 - something took off. Kind of like 2 very colorful chords - that each could create a multitude of harmonic inference, depending on the sequence - or inversion - for lack of a better term.

[gregrorio j]

Thanks so much, Mike! "Fleeting and fantastical" were certainly the main traits of the bird's song Ive so long been inspired by. Ive been so fortunate to have mockingbirds accompany the still nights here for decades! I had a few attempts some years ago at this, but had to put down the pencil. Im very appreciative of your encouraging words!

[John Driscoll]

Just piling on the kudos here! This feels like a new take on the fugue and in a newly mature style (not that I'm calling your previously works immature!). Fearsome, in all its meanings. I enjoyed very much!

[gregrorio j]

"Fearsome, in all its meanings." - What an awesome response!
Im glad it came off, stylistically, fresh, and realized, convincingly. Thanks so much for taking a listen, and offering your generous enthusiasm for this piece!

[Raymond Jacob]

This is wonderful.