Fantasia & Fugue in Eb Major for Organ Op. 21
Organ - Advanced Intermediate - Digital Download
Composed by Steven Monrotus. Contemporary Classical, General Worship, Repertoire, Technique Training, Recital. Score. 12 pages. Published by Steven Monrotus (S0.429351).
Item Number: S0.429351
This work was composed for an organ with 2 manuals and pedals minimum. It would make for not only effective recital and lesson material but a place could be easily found for it in the worship service where it might serve as a general prelude, with the Fugue possibly reserved for the postlude. It begins with a prelude (Fantasia) in free form consisting of 5 short sections which are based upon the Fugue's subjects and countersubjects, thus providing a very strong sense of unity to the entire work. This Fantasia is formed of 3 sections of 4 voice polyphony which are separated by 2 passages of running figuration and big, loud chords. The 1st contrapuntal section introduces a theme voice by voice over a tonic pedal point until a 4 voice texture is reached. This opening theme in the home key is a literal repetition of the Fugue's 2nd countersubject, thus providing a very strong sense of unity to the entire work. This section ends with a full cadence on the dominant chord. The 2nd section is louder, modulates from the dominant to the unrelated key of b minor, and introduces a running figure derived from rhythmic transformation of the Fugue's 2nd countersubject. This finishes with 2 big, rolled chords at a ff dynamic pointing to the subdominant key. The 3rd section in the subdominant returns to the opening registration and reiterates the opening theme in inverse voice by voice, proceeds over a dominant pedal point, and modulates to the relative of the dominant key. This section leaves the impression, more or less "fantastic," that the 1st section is repeating itself when this is not exactly happening. A short 4th section of running figuration and big chords follows, points to the dominant key, and foreshadows the first 4 notes of the Fugue's subject, thus adding to unity to the work. The 5th and final section works the Fugue's 1st countersubject, first in imitation at the 5th right side up, then in imitation at the 4th in inverse, all over a dominant pedal point. This passage begins slowly, gradually slows down more, undergoes a decrescendo, modulates to the home key finally, and ends very quietly in 5 voices, hinting at the Fugue's subject. The related 4 voice Fugue which follows is written in quadruple counterpoint with 3 countersubjects maintained throughout. Its subject begins on scale degree 1 and is supplied with a real answer in the dominant. The Fugue passes through all nearly related keys during which all 3 countersubjects appear in the bass at least once, and the closing stretto section ends in 5 voices using a trill in the final cadence over the full power of the instrument. In this work the stretch for the hands is kept at an octave or less. Registrations suggestions along with indications for hand division are included with the score. Length: 139 measures. Duration: 5:35. Composers Bio page: OrganBench.com.
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