Fantasia in C minor for Organ

I've always wanted to try writing a piece for organ.  Though he didn't write much for organ, I am a big fan of Mozart's organ music and in particular his Fantasy in F minor which inspired this work in terms of structure and the fugal subject which is similar, though otherwise I treated the sections very differently.  It is generally organized as a chaconne-like theme and variations in pairs separated by two extended sections (a fugato and a more lyrical section).  I had posted an unfinished version of this in the incomplete section and I greatly appreciated the feedback.  I also plan to transcribe a version for string orchestra.

It's feverish in its intensity, which is always a good thing,  part of your style I think, what I've heard so far. Have you ever posted an adagio here? Ha ha!

The piece works very well: The monumental introduction, the fugato and the lyrical part offer a nice contrast. However, I would have expected a more Allegro-type fugato after the introduction. Overall, the fantasia reminds me of a concerto movement in a loose ritornello form, with the slow parts as the ritornello and the fugato and lyrical part as episodes. If you ever come around to adapt this fantasia to an orchestra, it would lent itself quite nicely to a concerto.

19 hours ago, Ken320 said:

It's feverish in its intensity, which is always a good thing,  part of your style I think, what I've heard so far. Have you ever posted an adagio here? Ha ha!

 

Thanks for listening Ken!  True, I am not much for very slow pieces unless required as part of a multi-movement work (there is an adagio movement in my harpsichord concerto!).

9 hours ago, Willibald said:

The piece works very well: The monumental introduction, the fugato and the lyrical part offer a nice contrast. However, I would have expected a more Allegro-type fugato after the introduction. Overall, the fantasia reminds me of a concerto movement in a loose ritornello form, with the slow parts as the ritornello and the fugato and lyrical part as episodes. If you ever come around to adapt this fantasia to an orchestra, it would lent itself quite nicely to a concerto.

 

I'm glad the sections between the recurrence of the opening harmonic progression provide good enough contrast since as you indicate, there is no real allegro part.  I definitely plan to transcribe this for a string orchestra.  The concerto idea is interesting.

Thanks for listening!

Hi @bkho

First of all, I find the structure of this piece really interesting. I think part of that is the way the episodes are so distinct from the main chaconne theme.

Chaconne(s): I do like the harmonic structure, sounds very Baroque and is a solid foundation for the piece. I would comment that the keyboard writing is at times a little awkward, such as the 1st variation at bar 9 where the right hand has tricky movements of hand positions. Are you a pianist/organist yourself? If so, you'll be able to modify it quite easily. Also, the variation with the acciccature: perhaps they could be written out as triplet semiquavers? To me, they have more melodic value than how they are notates, although this could be a question on individual interpretation.

Fugato: I'm no fugue writer or counterpoint expert, so take everything I say here with a (very large) pinch of salt! The opening of the subject is very striking and makes the other entries clear, however towards the end I feel it sort of loses its way. I think it's the almost repeat of bar 19 and 20 that throws the phrase of slightly, but maybe marking in some phrase lines would sort it out in the performers head for them to make the subject clear. Bar 24: The first F could also be a series of quavers [F-E-F-G-trill] to make the modulation smoother. The countersubject is a lovely melody. Maybe it doesn't work as well on its own with the subject, but when the third voice appears it makes sense. From bar 51-53, I think the triplet quaver/semiquaver motif could get higher quicker, as this would make the lead in to the 'Maestoso' more natural.

Lyrical Section Bar 70: I looked at the score before listening to it, and was going to suggest that you changed tone here to a flute stop... but you've done that! I would also maybe suggest a different tone for the left hand as this would help separate the voices a little - a reed or a string? I noticed the use of the triplet motif from the end of the fugue here too - great linking of themes! My main comment/criticism for this section is that it's rather long compared too the rest of the chaconne. It picks up nicely at the Poco Animato, but perhaps then strays a little to far into gentle territory - it makes the return of the C minor theme a little jarring. I like the material though, and wouldn't want to cut any of it out! Maybe 135-149 sort of region?

Coda: I really enjoyed this section. It reminds me a little of the fugue to the E Minor harpsichord toccata, mixed with the first movement of the 5th partita. Bar 191 to the end feels a little hurried, it sounds like there has been a modulation to the subdominant and then ends. Staying in C major a little longer would probably help this. I love the closing two bars though.

Overall, a really great piece! Well done on finishing and polishing something of this length, and thank you very much for uploading it!

aMC

14 hours ago, aMusicComposer said:

Hi @bkho

 

First of all, I find the structure of this piece really interesting. I think part of that is the way the episodes are so distinct from the main chaconne theme.

 

Chaconne(s): I do like the harmonic structure, sounds very Baroque and is a solid foundation for the piece. I would comment that the keyboard writing is at times a little awkward, such as the 1st variation at bar 9 where the right hand has tricky movements of hand positions. Are you a pianist/organist yourself? If so, you'll be able to modify it quite easily. Also, the variation with the acciccature: perhaps they could be written out as triplet semiquavers? To me, they have more melodic value than how they are notates, although this could be a question on individual interpretation.

 

Fugato: I'm no fugue writer or counterpoint expert, so take everything I say here with a (very large) pinch of salt! The opening of the subject is very striking and makes the other entries clear, however towards the end I feel it sort of loses its way. I think it's the almost repeat of bar 19 and 20 that throws the phrase of slightly, but maybe marking in some phrase lines would sort it out in the performers head for them to make the subject clear. Bar 24: The first F could also be a series of quavers [F-E-F-G-trill] to make the modulation smoother. The countersubject is a lovely melody. Maybe it doesn't work as well on its own with the subject, but when the third voice appears it makes sense. From bar 51-53, I think the triplet quaver/semiquaver motif could get higher quicker, as this would make the lead in to the 'Maestoso' more natural.

 

Lyrical Section Bar 70: I looked at the score before listening to it, and was going to suggest that you changed tone here to a flute stop... but you've done that! I would also maybe suggest a different tone for the left hand as this would help separate the voices a little - a reed or a string? I noticed the use of the triplet motif from the end of the fugue here too - great linking of themes! My main comment/criticism for this section is that it's rather long compared too the rest of the chaconne. It picks up nicely at the Poco Animato, but perhaps then strays a little to far into gentle territory - it makes the return of the C minor theme a little jarring. I like the material though, and wouldn't want to cut any of it out! Maybe 135-149 sort of region?

 

Coda: I really enjoyed this section. It reminds me a little of the fugue to the E Minor harpsichord toccata, mixed with the first movement of the 5th partita. Bar 191 to the end feels a little hurried, it sounds like there has been a modulation to the subdominant and then ends. Staying in C major a little longer would probably help this. I love the closing two bars though.

 

Overall, a really great piece! Well done on finishing and polishing something of this length, and thank you very much for uploading it!

aMC

 

Wow thank you so much for your extensive and thoughtful review and critiques!  Definitely food for thought when I make my next attempt in this form.