Six Voice Fugue from String Sextet in G-flat major, 2nd Movement

This is intended to be the second part of the second movement of my String Sextet in G flat major, after the part of Lamentoso. These two parts are very different from the more fleeing and transcendental first movement as I hope they capture the sadness of the time and what I feel, before leaping back to the world of the pentatonics later, which would make the pentatonics more grounded. Here is the first movement of the piece:

Here is the first part of the second movement of the piece, the Lamentoso, which is actually finished after this fugue:

Here are the scores, the original version and a version with my own (painful) analysis on it:

Final Fugue from String Sextet movement 2.pdf(With Analysis) Final Fugue from String Sextet movement 2.pdf

And here is the youtube video:

The piece is dedicated to Mr. Johnson Ho. The finishing of the fugue is prompted by hearing his worsening health, so I really want him to stay healthy.

The inspiration of the fugue first comes from my friend Mike @chopin   and my mentor David  (I am very honoured to name him my mentor even though we have never met in real life since his videos form the skeleton of my composing skill. Go watch his analysis videos NOW!) said that the middle fugato section from the first movement is the best part of the movement. I was shocked since I believed it was the worst of the movement! Then my bro Vince @Thatguy v2.0 (who also makes this perfect audio) inspired me to write a dense fugue for the second movement, and so I challenged myself to write a six part fugue, since I feel like it’s not fully realised in the first movement. This is he most difficult I have ever written, but finishing it I now consider it my most beautiful work composed up to date. It’s so emotionally deep, even weirdly I feel zero emotion during the composition process, only calculating the counterpoint haha. I am so satisfied with the result.

The fugue comprises of three subjects, all from the 1st movement. The 1st and 2nd subjects are from the 1st movement fugue’s subject, while the 3rd subject is derived from the opening theme of the Sextet’s first movement.

Here is the plan of the movement (time according to youtube video):

First part (00:03): First subject enters in each instruments, inversion introduced at . All of sudden C minor enters (01:55) and I quote my subject of the C minor Clarinet Quintet 3rd movement fugue here to intensify the sadness. Also kind of replying to the relationship of G flat major and C major in the first movement, but while freedom is shared there, now sadness is shared.

Second Part (02:12): Second subject enters and the section features a saturation of stretti. The C minor section (03:56) comes in at and it’s my favourite section of the whole fugue. It’s insanely tragically beautiful here.

Third Part: Third subject enters (04:58), first and second subjects combine in the manner of the 1st movement fugato. The intensity is kind of lowered after that insanely tragic C minor section, maybe kind of accepting and reflecting upon it, and it’s less saturated with the subjects. However things starting to get intensified, first the third subject is treated as in Bach’s Chorale Preludes when it is cut up and divided to four phrases alongside the other two subjects (06:29). The only pentatonic entry (07:16) arrives to kind of relate itself to the first movement and hints what will come at the end, but at the meantime it’s defeated by disappointment and the fugue ends in a doubtful manner, which will lead to the chant section.

Hopefully I would finish the whole movement as soon as possible! Hope you enjoy the fugue now!

Henry

I see you have retained @ComposaBoi's propensity to use both the #4 and ♮4 at the same time in this fugue (from his Christmas piece)!  I think it is an effective dissonance in this context as well!  And at measure ~54 you modulate to C minor and quickly manage quite a smooth transition back to F# minor - very well executed.  I think the piece to me lacks some changes in texture and rhythm to create contrast.  The piece proceeds too consistently with quarters and 8th notes without a change.  I would have loved to hear some kind of toccata section at a faster tempo (although you do have the slower meno mosso section near the end).  Or maybe using more 16th notes or triplets or something to create more rhythmic variety at some point.  One of my favorite fugues by Bach - the "Wedge" fugue in E minor is really great at this as its more of a fugue-fantasia where Bach intersperses subject entries with toccata-like runs that mesh perfectly with the fugue subject.  It's really more of a composite form which is why I love it so much.  Combining two seemingly incompatible musical ideas really worked well in that context.  If you had included some kind of much different contrasting musical idea it would have freshened up the rhythm and texture and created a much needed contrast imo.  Thanks for sharing and a great achievement nonetheless!  I mean it is a 6-voice fugue after all!

Hey Peter, 

Thx for your badge and comment!

17 hours ago, PeterthePapercomPoser said:

I see you have retained @ComposaBoi's propensity to use both the #4 and ♮4 at the same time in this fugue (from his Christmas piece)!  I think it is an effective dissonance in this context as well!

Meh I didn’t retain Jonathon’s propensity since my fugue is definitely composed earlier than his posting! But I really want the dissonance here to kind of portray the sadness I am feeling!

17 hours ago, PeterthePapercomPoser said:

And at measure ~54 you modulate to C minor and quickly manage quite a smooth transition back to F# minor - very well executed.

Thx!

17 hours ago, PeterthePapercomPoser said:

I think the piece to me lacks some changes in texture and rhythm to create contrast.  The piece proceeds too consistently with quarters and 8th notes without a change.  I would have loved to hear some kind of toccata section at a faster tempo (although you do have the slower meno mosso section near the end).  Or maybe using more 16th notes or triplets or something to create more rhythmic variety at some point.  One of my favorite fugues by Bach - the "Wedge" fugue in E minor is really great at this as its more of a fugue-fantasia where Bach intersperses subject entries with toccata-like runs that mesh perfectly with the fugue subject.  It's really more of a composite form which is why I love it so much.  Combining two seemingly incompatible musical ideas really worked well in that context.  If you had included some kind of much different contrasting musical idea it would have freshened up the rhythm and texture and created a much needed contrast imo.

I know what you mean, but that’s what not I am chasing for here. I am maybe more chasing for the exemplar of Beethoven’s op.131 first movement here: an ongoing sadness over and over, and I think a contrasting section with toccata like rhythm and texture will ruin the mood here. I love Bach’# Wedge fugue too, but I think its treatment doesn’t fit here! After all I want the fugue to be within the organic structure of the Sextet, so all three subjects comes from the first movement! The contrast is created maybe by comparison of this fugue and the previous Lamentoso section in the movement which is more personal, subjective and emotional, even though I have yet to finish it LoL!! Also I think I am trying a more Palestrina approach here even with the dissonances, since I try to use steps as much as possible and maintain the overall shape of an arch when there are leaps. This may also be the reason the movement is less contrasted and personal!

17 hours ago, PeterthePapercomPoser said:

Thanks for sharing and a great achievement nonetheless!  I mean it is a 6-voice fugue after all!

Argh I will never try it again! It’s so difficult to write with 6independent voices even though it worths it! It’s hard to get compliments from you haha, thx for that!

Henry

Good day Henry,

I hope you are well. Wow, this is a great piece, both tragic and beautiful at the same time. I especially love the second part of the fugue and the C minor section that you say is your favourite. I'm very impressed by the fact that you have written a fugue for 6 voices, something I could only dream of doing. Not only have you managed to write a fugue for six voices, but have filled it with honest, raw and beautiful emotion and clothed it in tragedy. All I can say is, in the words of Robert Schuman: Hats off, gentlemen, a genius!

Nga Mihi,

Arjuna

On 1/12/2024 at 2:41 PM, expert21 said:

Wow, this is a great piece, both tragic and beautiful at the same time. I especially love the second part of the fugue and the C minor section that you say is your favourite. I'm very impressed by the fact that you have written a fugue for 6 voices, something I could only dream of doing. Not only have you managed to write a fugue for six voices, but have filled it with honest, raw and beautiful emotion and clothed it in tragedy.

Thx Arjuna! I definitely pour my emotion towards the fugue, even though when I was composing I felt nothing but only calculating the counterpoint! I never knew the outcome of the sound since the Sibelius playback is so crap!

Henry

Fine composition.    Check your voicings at times.  The clashes with Bnat and B# (and the like) are prevalent throughout this piece.  Your performers are going to constantly ask you about things like that because you just told us a half a beat earlier it was one note and now you want me play something else.  It's just how are ears are.

I read earlier how you want to portray sadness.  You can still have it and have harmonic consistency (i.e Transfigured Night, Alberich scene's in the Ring).  

On 1/11/2024 at 3:48 PM, Henry Ng Tsz Kiu said:

I am maybe more chasing for the exemplar of Beethoven’s op.131 first movement here: an ongoing sadness over and over

Thanks for reminding me of this. I haven't heard it in a long time, and I forgot how genius it is. 

You told me your philosophy professor said this "fell flat". Did they not see all of the sharps?

Just kidding, but I'd have to disagree with them. I think a lot of your decisions about texture and rhythmic selection could be attributed to you keeping the grand scope of the entire work in mind. Like, this is a long fugal section within a movement WITHIN the whole piece. And from what I remember from the vibrant first movement, this was a smart choice. Plus if I'm not mistaken, in the second movement there will be parts before and after this? Maybe if your professor had heard the work in it's entirety they would have a different opinion?

I personally think it stands alone wonderfully. You know I don't really care for fugues, but I got a lot of enjoyment hearing this one. Your piece had lots of pain to me, I could feel the power very easily (especially at bar 106). In other moments you give us brief glimpses of sunshine, but overall it aches of sorrow and dark tones. 

I like how I liked (what a dumb way to say this...I'm keeping it) the music more and more as it went on. I'm not sure how to explain that, and I wasn't analyzing every damn note to see if it fell under whatever rules it needed to. Your writing seemed more confident as the piece went on.

My favorite part is near the 7 minute mark, where you introduce themes from the first movement briefly, until giving us a bit more sadness and tension to the end. I've listened to the first movement tons of times, so it was fun to hear trickles of it, keeping me guessing how you'll finally end this massive work!

Only when I get to hear the whole thing as a whole will I understand your vision with this, but from what I've heard so far, I'm on the edge of my seat with anticipation for that day. Brilliant job Henry, I know the grueling counterpoint you tediously and meticulously went through was probably agonizing. Regardless of where this piece in particular goes, just remember how much better at your craft you have gotten with such a momentous challenge accomplished.  

Congratulations, you are being gifted my patented new badge.

On 1/16/2024 at 12:22 AM, maestrowick said:

Fine composition.    Check your voicings at times.  The clashes with Bnat and B# (and the like) are prevalent throughout this piece.  Your performers are going to constantly ask you about things like that because you just told us a half a beat earlier it was one note and now you want me play something else.  It's just how are ears are.

I read earlier how you want to portray sadness.  You can still have it and have harmonic consistency (i.e Transfigured Night, Alberich scene's in the Ring).  

Hi @maestrowick,

Thx for your comment! I think the clash of B natruals and B#s are more like false relation. The inspiration of the clash of them right at the point of subject entries for me comes from Mozart's Fugue in C minor for two pianos:

And honestly I think it would be great for the performers to constantly ask me things if it would really be performed!!

So in your opinion having a clash of false relation would be a harmonic incosistency? Personally I think the Transfigured Night has way more tone clashes!

Thx for your review!

Henry

Yo Vince, 

Replies from you always boost my motivation!

First I have to thank you publicly (doing the Leo thing). Without your idea of “writing a dense fugue” and “little playing of counterpoint” in your review of my first movement of the Sextet I would NEVER think of writing a six voice fugue here. Thx SO MUCH for your idea.

On 1/17/2024 at 3:14 PM, Thatguy v2.0 said:

Just kidding, but I'd have to disagree with them. I think a lot of your decisions about texture and rhythmic selection could be attributed to you keeping the grand scope of the entire work in mind. Like, this is a long fugal section within a movement WITHIN the whole piece. And from what I remember from the vibrant first movement, this was a smart choice. Plus if I'm not mistaken, in the second movement there will be parts before and after this? Maybe if your professor had heard the work in it's entirety they would have a different opinion?

Yeah I think so too, but it’s my own fault, as I shouldn’t assume other people will know what’s happening on my brain with my plan of the work! Of course for me the fugue works reasonably with the plan, but maybe not so to others.

On 1/17/2024 at 3:14 PM, Thatguy v2.0 said:

personally think it stands alone wonderfully. You know I don't really care for fugues, but I got a lot of enjoyment hearing this one. Your piece had lots of pain to me, I could feel the power very easily (especially at bar 106). In other moments you give us brief glimpses of sunshine, but overall it aches of sorrow and dark tones. 

I am so happy you feel the pain!! (I am not a sadist LoL!) It’s painful writing both in terms of the counterpoint rule and the content itself. Strangely I feel nothing during the writing of it, except for twice after I heard of my friend’s illness and I burst out crying composing while thinking of my friend’s illness, combining the tragic power of the piece itself. My friend is a hero, he’s the one who is comforting us on his illness. I have never met a braver person than he is in my real life. I write this for my friend, but also for the pain I feel during these few months with wars and sadness everywhere. I cannot ignore them in my writing even though I was emotionless in my writing process.

On 1/17/2024 at 3:14 PM, Thatguy v2.0 said:

like how I liked (what a dumb way to say this...I'm keeping it) the music more and more as it went on. I'm not sure how to explain that, and I wasn't analyzing every damn note to see if it fell under whatever rules it needed to. Your writing seemed more confident as the piece went on.

Yeah! I feel like every time I write I am learning through the writing progress. I have to get used to the texture and rules first before I can fully write without having those rules constraining me later. The same works for the Clarinet Quintet in C minor! But it also gives a sense of growth throughout the fugue which I love. The music becomes more and more fluid to the end in my opinion.

On 1/17/2024 at 3:14 PM, Thatguy v2.0 said:

My favorite part is near the 7 minute mark, where you introduce themes from the first movement briefly, until giving us a bit more sadness and tension to the end. I've listened to the first movement tons of times, so it was fun to hear trickles of it, keeping me guessing how you'll finally end this massive work!

Yes! Actually all three subjects come from the first movement, but in around 7 minute it becomes more apparent when pentatonic is reintroduced! I am so happy you find the hidden connection!

On 1/17/2024 at 3:14 PM, Thatguy v2.0 said:

Only when I get to hear the whole thing as a whole will I understand your vision with this, but from what I've heard so far, I'm on the edge of my seat with anticipation for that day. Brilliant job Henry, I know the grueling counterpoint you tediously and meticulously went through was probably agonizing. Regardless of where this piece in particular goes, just remember how much better at your craft you have gotten with such a momentous challenge accomplished.  

Sigh, it will be a long long way to run before the finishing line. It’s agonising but it definitely worths it. Hopefully I won’t ruin this fugue and the first movement while completing the remaining passages. I still yet to think of how to end the whole piece together conVINCEingly, luckily you give me some idea for that though!!

I am so lucky to have you as my guidance and friend Vince. You always give me inspirations and ideas to work on. I have yet to use up all your ideas concerning the remaining parts of the movements and stay tuned!! 
 

Thx bro Vince,

Henry

This is definitely a piece I had to listen to a few times, because of its complexity. But I enjoy complex music, so this was easy for me to do! There's so much dissonance in this fugue, and I'm actually quite amazed at how smooth you were able to make this sound. Your sudden and deliberate key changes really help to keep the listener engaged in my opinion. Here's what happened when I came across the key changes. I had to go back and listen again and again to hear how you were able to execute your modulations. I tend to do this a lot with new music for my own knowledge. I love it!

The amount of expression in this fugue is also unbelievable. Dynamics in music are so very important, and I hope the Young Composers of this forum can learn from this. As far as your melody, the repetition of your main theme in your fugue definitely helps guide the listener throughout this piece. And you know what amazes me the most? Your smooth transition to the pentatonic scale at the 7:00 mark. I had to go back several times and listen to your execution.

It's these techniques in music that keep a listener engaged, especially in longer works such as this. While this is a very complex piece musically, it's actually quite easy to listen to, and the re-listen value is very high. The reason for this is because there's so much that can be learned and absorbed from this piece, but impossible to do in one go. My piano works are basically the same...they are not meant to be listened to just once, because of how much is going on in them.

I just gave you some good watch time because I listened to this piece about 4 more times while reviewing this work. I'm impressed at how well you compose and play for the piano, and now I'm even more impressed at how well you compose for the chamber orchestra.

Hi

It is a work of impressive intensity, which reminds me of  Metamorpohosen by Strauss.

On 1/10/2024 at 7:54 PM, PeterthePapercomPoser said:

 achievement nonetheless!  I mean it is a 6-voice fugue after all!

 

can we make this giant 6 6a youngcomposers in-joke

6

4 hours ago, jejrekmek said:

can we make this giant 6 6a youngcomposers in-joke

6

Yes you can if you write a 6part fugue yourself!!!

Henry

Hey Luis,

On 1/20/2024 at 8:47 PM, Luis Hernández said:

It is a work of impressive intensity, which reminds me of  Metamorpohosen by Strauss.

I didn’t listen to this piece, but I am happy to achieve intensify of emotions while following dogmatic counterpoint rules, especially with a six part counterpoint! I will NEVER do this again!!!

Henry

22 hours ago, Henry Ng Tsz Kiu said:

Hey Luis,

I didn’t listen to this piece, but I am happy to achieve intensify of emotions while following dogmatic counterpoint rules, especially with a six part counterpoint! I will NEVER do this again!!!

Henry

 

You should go for that piece by Strauss (23 soloist string instruments).....

2 hours ago, Luis Hernández said:

You should go for that piece by Strauss (23 soloist string instruments

Just listen to the beginning and it's so fascinating. Unfortunately I am going to sleep now but I will definitely finish it tomorrow! Thx so much for your recommendation!

Henry

23 hours ago, Luis Hernández said:

You should go for that piece by Strauss (23 soloist string instruments

I have just finished the whole thing and it's such an intensive masterpiece. All those sudden modulation as in a late romantic piece and the quoation of that Eroica 2nd movement is again so freakingly beautiful. There's the clash of minor 2nd in b.436! Just like my subject entries haha. It's so Wagnerian when the emotion just goes on and on without stopping. I think he really uses great orchestral technique in this with all those mature doublings and sound effects! The use of leitmotifs are great as well even though I don't like technique itself personally since it introduces way too many motives sometimes. Thanks so much for your recommendation Luis! I thoroughly enjoy the piece and will definitely relisten to it.

Henry

Great work as per usual! The counterpoint is masterful, though the dissonance in the beginning was jarring at first, it works well I think. Especially after more listens, it makes sense and isn't so jarring.

One thing that I felt was problematic was that the low lines were sometimes muddy, which is hard to avoid when you have two voices in the same bass register. I do think it would sound much better with real instruments though, so it may be alright.

I also felt that the sheer number of tuttis, though masterful in execution and contrapuntal technicality, create a bit of a repetitiveness throughout. Alot of this repetitiveness went away by about the fourth listen as I began picking up better on the intricacies and understanding the structure, but the fact that it took so many listens to get that point might mean something. Or maybe I'm just bad at listening to fugues other than Bach ¯\_ (ツ)_/¯

So, I guess after so many listens, most of those issues disappeared for me, except the muddiness of the cellos in some instances. 

Overall, solid work writing this 6voice fugue. I'm excited to hear it in the context of the rest of the movement.

Hey Jonathon,

I am so touched by your listening piece multiple times!! That’s the happiest thing a composer can have and thx so much!

11 hours ago, ComposaBoi said:

though the dissonance in the beginning was jarring at first, it works well I think. Especially after more listens, it makes sense and isn't so jarring.

Yeah it’s deliberate and maybe after getting used to it it becomes better haha. Just like our dear Schoenberg.

11 hours ago, ComposaBoi said:

One thing that I felt was problematic was that the low lines were sometimes muddy, which is hard to avoid when you have two voices in the same bass register. I do think it would sound much better with real instruments though, so it may be alright.

Yeah definitely! One thing I think I can improve on is that I sometimes get lost while writing and ignore the spacing issue between the voices, especially for the two cellos. I hope the real cellist will compensate on that!

11 hours ago, ComposaBoi said:

so felt that the sheer number of tuttis, though masterful in execution and contrapuntal technicality, create a bit of a repetitiveness throughout. Alot of this repetitiveness went away by about the fourth listen as I began picking up better on the intricacies and understanding the structure, but the fact that it took so many listens to get that point might mean something. Or maybe I'm just bad at listening to fugues other than Bach ¯\_ (ツ)_/¯

Haha I use so many stretti here and that can be too saturated sometimes which result in the repetitiveness even though it’s a fugue which requires it haha! Or maybe the music is not easy just like me myself LoL! But I am very appreciated that you want to understand the structure of the piece. Thx so much for that. And, who dares to compare his fugue to Mr. Bach??😜

11 hours ago, ComposaBoi said:

Overall, solid work writing this 6voice fugue. I'm excited to hear it in the context of the rest of the movement.

Yeah hopefully it makes more sense combining the context!!

Henry

Yo Mike,

Thx so much for your in depth and thoughtful. I have to think deeply to reply you, so I delay my reply until now!

On 1/20/2024 at 1:46 PM, chopin said:

There's so much dissonance in this fugue, and I'm actually quite amazed at how smooth you were able to make this sound.

Yeah at the moment I use a minor second at the point of the entry I am using it throughout the whole fugue and I don’t prevent any minor seconds at all! That’s maybe the reason why @ComposaBoi thinks it’s jarring at first haha. They are created through accented and unaccented passing tones and suspensions so they are smooth in terms of voice leading I guess. I hope to use the minor seconds for pain I felt. I also use a more Palestrina approach here when I try to use step as much as possible and resolve any leaps by steps in the opposite direction. It’s not always the case particularly with the 2nd subject, but the contour is in this principle.

On 1/20/2024 at 1:46 PM, chopin said:

Your sudden and deliberate key changes really help to keep the listener engaged in my opinion. Here's what happened when I came across the key changes. I had to go back and listen again and again to hear how you were able to execute your modulations.

On 1/20/2024 at 1:46 PM, chopin said:

And you know what amazes me the most? Your smooth transition to the pentatonic scale at the 7:00 mark.

For the three sudden modulation I only plan the last one. What I have planned are the six part stretti in b.46 for the 1st subject and b. 95 for the 2nd subject. For the first one to C minor it’s a sudden inspiration after I finish that stretti. My mind suddenly tells me to go for C minor and it works by reinterpreting the dominant seventh of C sharp minor to a German sixth of C minor, which is always one of my favourite device since my start of composing back to my ( ) where I used a lot of it. The retransition in b.54-57 as @PeterthePapercomPoser said is smooth, I agree with that, but I don’t know how I make that either LoL. I just know I have to modulate back to F sharp minor and I am successful LoL! For the second climax and modulation I know I have to go for C minor again since I want to link it to the tritone relationship presented in the first movement and also link in to my Clarinet Quintet in C minor, but I don’t know how and when, but again suddenly my mind tells me to do so after the stretti in b.102. In the retransition in b.123 I suddenly quote Bach’s Mass in B minor, I don’t know why but I just manage to modulate back haha.

I do plan for the pentatonic entry, but again I don’t know and when. My mind suddenly tells me to split up the third subject in a Bachman chorale manner and it works! I won’t be able to do this if I haven’t listen to all of his organ works a few months before. It modulates easily: F#m-Bm-G-Am-C. The key has to fit for the split subject so I have to be careful with the subject entries ina right key! and the retransition is easy, just make the F minor and reinterpret it as dom7 of F sharp minor.

On 1/20/2024 at 1:46 PM, chopin said:

The amount of expression in this fugue is also unbelievable. Dynamics in music are so very important

I know it’s crucial since from my experience to work with Vince on the recording of the 1st movement of the Sextet, I know I have to add a lot of expressions in order to let the program know what I want! It’s great to be meticulous haha!

On 1/20/2024 at 1:46 PM, chopin said:

It's these techniques in music that keep a listener engaged, especially in longer works such as this. While this is a very complex piece musically, it's actually quite easy to listen to, and the re-listen value is very high.

Thx! That’s what I aim for! I don’t want my piece to be a very direct one but instead a piece that will release its charm more and more after re listening! Like you I LOVE complex things! 
 

On 1/20/2024 at 1:46 PM, chopin said:

I'm impressed at how well you compose and play for the piano, and now I'm even more impressed at how well you compose for the chamber orchestra.

Yeah! To be honest I feel like I just use 70% effort for my piano works, like that C sharp minor one, but I definitely use my 200% for this fugue and the Sextet in general!! Every time after composing a part of it I feel like my brain is dying out. This is the hardest piece I have ever written!

Thx so much Mike!!

Henry

Thanks, Henry, for sharing this. It’s impressive, however it would be doubly impressive if I were able to hear each voices properly, when the full ensemble are playing together. Otherwise, it’s difficult to appreciate what exactly is going on. 
 

What software do you use? Have you considered putting it into MuseScore? The sounds on that software are excellent, I find. 

Hey @Markus Boyd,

Thx for your listening and review!

On 2/5/2024 at 2:20 AM, Markus Boyd said:

It’s impressive, however it would be doubly impressive if I were able to hear each voices properly, when the full ensemble are playing together. Otherwise, it’s difficult to appreciate what exactly is going on. 
 

What software do you use? Have you considered putting it into MuseScore? The sounds on that software are excellent, I f

The sound is Sibelius using Noteperformer by Vince’s excellent nuancing. I think for a fugue only real human beings can play its full integrity since they would really are six independent performers. For me it’s already real great comparing to that crappy Sibelius Ultimate for iPad sound!!! Even with real performers I think it will be difficult to be appreciated for what exactly is going on since it’s a six part fugue with three subjects meh 🤪. Only with the complexity of the music can I express my overly complex mind LoL!

Henry

Congratulations again,

I just posted a comment on Youtube.

I say it again here.

For me, your approach to the fugue is to be compared to that of romantic composers for whom this form is above all the echo of a Gothic cathedral, abandoned, no doubt, and which welcomes the steps of a lonely walker. He then sings and mourns his pain, for the old stones covered with ivy and his voice resonates in solitude.

No matter the details, no matter the small "Crumples of paper" here and there, (I'm not talking about the boldness that are always good and beautiful), what matters in the end is the human gesture that is behind the form.

Hey Jean, 

Thx very much for your listening and compliment!

On 2/25/2024 at 3:44 PM, Krisp said:

I just posted a comment on Youtube.

I really love your view that having constraint on yourself can help push your own limit and dig deep of yourself. I have heard of a drama actress once share that, if you dig deeper into your heart, your creative works will become more universal. I think this is very true! And I always find freedom only free when there’s constraint on it, just like what Fichte (I read a lot of him late lately) deduced.

On 2/25/2024 at 3:44 PM, Krisp said:

For me, your approach to the fugue is to be compared to that of romantic composers for whom this form is above all the echo of a Gothic cathedral, abandoned, no doubt, and which welcomes the steps of a lonely walker. He then sings and mourns his pain, for the old stones covered with ivy and his voice resonates in solitude.

I like your analogy very much!! The one speaks out his pain, the pain resonates as echo and in turn hurt the one more. That’s my perception of a fugue when the concept of resonating is crucial, whether the resignation is joy or pain. Or it’s the metaphor of humanity, every one of us is independent and has our own voice, however we work together to resonate everyone and live peacefully, not by means of making everyone equal but on the contrary making everyone independent and achieve their pwn uniqueness while not harming others with dissonances.

On 2/25/2024 at 3:44 PM, Krisp said:

No matter the details, no matter the small "Crumples of paper" here and there, (I'm not talking about the boldness that are always good and beautiful), what matters in the end is the human gesture that is behind the form.

I really enjoy those dissonances of minor seconds and augmented in this fugue! They are effective to speak out my pain!

Thx so much Jean! I always enjoy your insight and support!!

Henry

Very impressive! I can't really add anything new to the superlative comments others have posted above... A very emotional and expressive work which was quite an enjoyment to listen to! May I ask what your technique was to achieve six-part counterpoint with such an intricate theme? I mean, I've done myself several counterpoint exercises for more than four voices, but always with simple stile antico themes... How did you go about working out this complicated subject?