Fugue for orchestra in Bb

Hello everyone.

To end this time in which I have been trying to go a little deeper into the Fugue, I have written one for the little baroque orchestra that I have defined myself.
It is a 4-voice fugue in B flat major.
Bringing the Fugue to the orchestral level has its difficulties, because in addition to the relevant voices, often doubled, you have to add the continuo, and also at certain times a harmonic support.

Someday I will try with a large orchestra. But for the moment this is what I did and I want to comment beforehand that some harmonies are more modern than baroque, that's why there are chains of dominants, and some sevenths as if they were principal notes.
Also note that as the subject is so lively, the counter-subjects are made with long notes, otherwise the mess was guaranteed.

The episodes are more subdued, but their material comes out of the previous.

I hope that, at least, you enjoy it.
 

Wow this sounds amazing! I really like the initial subject and the harmonies! It has a festive mood, which I really like. I also like your interpretation of the Baroque orchestra, but with modern harmonies. The one feature I think is really interesting is how how you used the harpsichord. I like how you gave it an almost constant quarter note role throughout. This only thing I found difficult, was following the main subject throughout. I think it is because I am use to only 4 voice fugues in a chamber or solo keyboard setting, so having the extra voices made it a bit more difficult for me to follow. But I do not think this a fault with the music, but with my listening skills. Overall, amazing work! I can't wait to hear you write a fugue for large orchestra!

Hi Luis,

First just about the harmonic variety of your subject. Your original subject is long and so many harmonies are implied in your subject: G minor is implied in b.1-2, C minor in b.3. Motivically, the use of seventh is prominent in b.1 and 3, third in b.2 and 4, and for the bassline it's at first chromatic then diatonic. A good subject full of contrast like this is already half success for the piece. (Except the parallel octave in b.1-2 C-Bb, and the parallel fifth in b.2  Bb-F to C-G haha). One more thing to take note of: you use the register of strings very well as you touch G for the violin and C for the viola in their entries. Very sensitive to the register of the instruments!

 - It's a d minor harmony rather than F major harmony implied in b.17 first half?

12 hours ago, Luis Hernández said:

The episodes are more subdued, but their material comes out of the previous.

That makes your structure very coherent there, as the material in b.21 episode is clearly the augmentation from the subject material (that seventh interval and figure).

-What a nice passage in b.36!! You are first having false entries there in the trumpets (or rather a prolonged one with long notes added between different phases of the subject!)

-I also like that even though this is a fugue in Baroque style for Baroque orchestra, you never forget to add modern touches to the music. The episode in b.43 is a clear example.

-For the stretto in b.51, I may change the A in viola to Ab in b.53 2nd beat and return to A natural in 3rd beat. I also find the clash between D in 2nd violin and the bassline a bit strong in b.52.

-I love that woodwind episode in b.56, very modern there! B.66 is so nostalgic! Very nice use of different materials from the same subject between instruments.

I for sure enjoy this. This serves as a good summation of your previous posts on Fugue. Thx for sharing this to us and always having very clear intention of what you are doing and achieving in your pieces.

Henry

@Guardian25 @Henry Ng Tsz Kiu

Thanks for listening.

Some comments:

The subject is quite long, but that's the way I preferred it so I could develop something involving the orchestra.
The harmony changes very quickly, especially when the subject and its accompanying lines appear.

Except the parallel octave in b.1-2 C-Bb, and the parallel fifth in b.2 Bb-F to C-G... This I don't see it the same, because at that moment there is only one line (the subject in the violins) and what there is more is the basso continuo. Anyway I have seen what you comment and some are very auxiliary notes. I take into account the parallels with the main note, if you don't go crazy.

It's a d minor harmony rather than F major harmony implied in b.17 first half? Yes, it starts on Dm.

What a nice passage in b.36!!! You are first having false entries there in the trumpets (or rather a prolonged one with long notes added between different phases of the subject!). Yes, I did it this way so as not to repeat the same subject again and to make it more varied.

Cheers.