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19536053
19536053

Fugue selon fugue

What about the F major Fugue ?

By Stephane Delplace

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Keyboard (organ, piano, harpsichord, accordion, etc...) - (4 to 6/8) moderate to moderately difficult
What about the F major Fugue ?. Composed by Stephane Delplace. This edition: spiral-bound. Modern. Score. Text language: English and French. 48 pages. Duration 47 minutes 30 seconds. Published by Editions Delatour France (D2.DLT1872).

Item Number: D2.DLT1872
ISBN 979-2321-00536-9. With Text language: English and French. Modern. 21 x 29.7 cm inches.

(What about the F major Fugue?) soit quatorze Fugues en Fa majeur, sur un theme unique et ses transformations. Le sous-titre renvoie implicitement a L'Art de la Fugue de JS Bach, qui ne se departit jamais de Re mineur, interrogeant effrontement sur le sort de la tonalite relative (Fa majeur). Le Sujet correspond aux notes du mot FUGUE lui-meme qui, dans la gamme allemande, comprend le distingo entre Si bemol (B) et Si becarre (H) : soit une simple note (Fa) et ses deux broderies (superieure puis inferieure), sorte de nucleon musical, pour ainsi dire denue de 'musique'. La 'Deesse des coincidences', tres sollicitee dans ce corpus, a entre autres permis la superposition du sujet avec le nom de BACH. L'audition de l'ensemble (in extenso) n'est pas sans produire sur l'auditeur un effet 'particulier' quant a son rapport au temps !

What about the F major Fugue? or fourteen Fugues in F Major, is based on a single theme and its transformations. This secondary title, an implicit reference to JS Bach's Art of the Fugue (which never leaves the key of D minor), brazenly inquires of the fate of F Major, the relative major key. The Subject, whose notes correspond to letters of the word F.U.G.U.E, is based on the German system, which distinguishes between B-flat (B) and B-natural (H). This Subject is generated from the simplicity of a single note and its two neighboring tones (upper then lower), a sort of musical nucleus, which is, in a way, a rather a-musical proposition. The 'Goddess of Coincidence', who played a great role in this work, allowed for the superposition of the Subject with the name of B.A.C.H. (using the same German system). Presented as a whole, it is not impossible that these fugues may have a curious effect on the listener's sense of time !