A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music describe Show More...
A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music described as counterpoint. Understand that the musical conception is in lines. The realisation plays back at 100 dotted quarter notes to the minute. The music editor suggests that if you have the technique and composure try to get to 110 dotted quarter notes to the minute as the music then really does seem to come alive. The dynamic range of this work is very much determined by the texture which varies from a single voice to four voices in varying combinations. In music of this time the score detail tends to be quite minimal and this score keeps to that practice. Buxtehude’s position in music history has resulted in him being overshadowed by J. S. Bach but Buxtehude composed many fine keyboard works that transcribe well to the piano. This is an uplifting piece to both listen to and play having the rhythmic template of a jig and a “modern” sound attributable to the tonal ambiguities that result from the conflicting accidentals often in different lines of the music. For those interested in finding out more about this look up the term “false relation.” The subject entries need to be clearly articulated and a sense of forward movement needs to be communicated at all times by the piano/keyboard player. In terms of the music setting there are some indications in the score as to which hand plays which line of the music and the player needs to have a clear understanding of the division of labour between the two hands. Ornaments do not feature in the score but can be added at the performers discretion once a clear understanding of the options have been appreciated from listening and analysing recordings and performances. Close
The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement fea Show More...
The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 72 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. It is worth exploring music originally intended for the organ and harpsichord performance on the piano. Alan Feinberg’s CD “Fugal State” and Francesco Tristano “Long Walk” are two contemporary collections that include the keyboard music of Buxtehude played on the piano. Close
The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. It is a movement featu Show More...
The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 76 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. Individual guitar parts are appended to the full score. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. Close
