• Hi Franz

    I liked the praeludium. You called it traditional but it had a modern feel to it. Kept the interest going by the way you varied each section.

    I felt the fugue lacked vitality and seemed an anticlimax after the praeludium. Perhaps putting some crashing chords at the beginning of each entry?
  • I really liked the cross-rhythms in the prelude. Is this by any chance related to the Morse-Thue sequence you were working with last time, or is this something completely unrelated? I like how the cross-rhythms manage to keep interest in the plain ascending / descending scales (e.g., mm.41-46; 65-75).

    I assume the fugue part begins at m.126? I have to admit I'm no fugue expert, so take my words with a grain of salt... I think it works relatively well, except that I'm unfamiliar with the harmonic language you're using here, so I can't really tell where the different fugue sections are. The ending was a bit sudden; it feels as if you didn't build up enough tension before that and/or resolve it in a satisfactory way that makes the listener expect the end; it just seems to be a continual stream of contrapuntal passages that suddenly screech to a stop, seemingly without reason. Now of course, I'm sure the actual structure is very clear to you, and that it totally makes sense to end at that point, but I feel like something is missing to convey that sense of resolution and conclusion to the listener. Perhaps it's just my bias because I'm unfamiliar with your harmonic language, but it feels like you could have had a stronger ending.

  • Just looking at the score, would it not be clearer to notate those right hand bars of 3/4 as tied notes and keeping the 6/8 division in the middle of the bar? It's quite hard to read 6/8 in one hand and 3/4 in the other.

  • Hi Franz, 

    3 listen's, here. I too really like the Preludium.  Very well done!  I feel the fugue could have a bolder harmonic language, as the prelude is pretty dynamic from a listening standpoint.  It would strike somewhat of a balance between the two.  I 'd have liked to hear your modulations starting much earlier in the development, or right off, and those modulations again, bolder, less close to home, less safe.  It's very interesting rhythmically, though, more interesting rhythmically than I'd expect from a "traditional" fugue.  It ain't easy though, to tear a fugue apart, and if it were me, I wouldn't.  It's kind of like designing and solving a puzzle at the same time, eh? And it's very good as is.

    Very nice work, Franz, all in all. 

  • Thanks all of you for your comments. It is good to read that you like the prelude. I put a lot of effort to make it a coherent and balanced piece of music. I agree that the fugue hasn't the same stature as the prelude. Thus the combination isn't very well balanced even though I tied them together by choosing the subject and countersubject from motives of the prelude.

    In contrast to my mathematical-musical aesthetic experiment "Herr Morse besucht Thule" no Thue-Morse sequence, Fibonacci sequence or any other mathematical sequence is used, at least not consciously.


    Herr Morse besucht Thule
    This is the german title of a minimalistic piece for piano I composed recently. The translation of the title reads Mr. Morse visits Thule . The melo…
  • I think the prelude is a lot more substantial than the fugue; perhaps that's why the fugue feels inadequate, even if it might have been OK if it stood on its own. Maybe if the fugue was a bit more extensive you could balance it out, say add more episodes to the middle section, with bolder harmonic language, or more harmonic variety.

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