Tag Archives: so you want to write a fugue

kick-awesome project

Frederic Rzewski actually once said to me, “You should play the Hammerklavier. You’d be good at it.” So, that’s what I’m going to do.

He said this to me at the Music09 festival in Switzerland, and I have been pondering it ever since, weighing whether it was feasible and whether it would be worth it. It’s one of those notorious pieces where everyone claims it’s ridiculously difficult on multiple fronts – and part of me believes them (because why would they lie?) and part of me doesn’t (because how many have played it over the last 200 years?).

So, I have “permission” from my professor – that as long as I understand what I’m getting into and how big a project this will be, then do it. He also said he would be learning it with me – he’s never actually made a real study of it, but has taught it and read it many times. So that will also be very cool.

Okay then, next question: what to program with it? My first reaction is something French, like one book of Debussy’s Images. So that’s out – I’m definitely looking for something less obvious and more intriguing. This stumped me for a good year – what the heck do you program with it?! So then switched trains of thought: What do people think of when they hear “Hammerklavier”? First, that it’s enormous; second, that it’s real difficult; and third, partially because of the fugue. Fugue – what to pair with a fugue? A PRELUDE.

This was definitely more what I had in mind. Pull together a smattering of preludes by pretty much everyone – Debussy, Chopin, Shostakovich, Scriabin, maybe some late Baroque ones, etc., and end the set with Rachmaninoff’s Bb prelude – both a good set end and a good setup for the Beethoven. Solid.

So I approached my prof about it. He also thought it was a cool idea, but suggested possibly doing a complete set of preludes by one composer. I have to admit, I had considered it, but for some reason dismissed it as being too much (as if the Hammerklavier weren’t already). So he started suggesting complete sets. And I think we both lit up when he got to Shostakovich. I have always wanted to perform them as a set, and I think they’re a great counterbalance to this program.

So, as it stands, that’s my next solo recital program:
Shostakovich: Preludes, Op. 34
Beethoven: Sonata in Bb, Op. 106
It will take me at very minimum a year to learn. And it’s probably the most ambitious thing I’ve ever done. No, not probably – it is. This may work, or it may prove too much. But what better opportunity will I ever have than now?

Seriously though, I’m so excited.

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Also, if you’re wondering where “kick-awesome” comes from, it’s (of course) in a sbemail:
http://www.homestarrunner.com/sbemail138.html

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suspension

My guide then led me to the lowest level. Though by sight it appeared much less torturous than the previous levels, the air was thick with extreme unrelenting anguish. We were in a brightly lit hall housing rows of tables as far as the eye could see. Every few meters along each table sat a man or woman, hunched over what seemed to be stacks of paper and pencils. Along each row walked a man in a powdered wig. It was eerily quiet – indeed, the proctors’ footfalls were the only thing to be heard – but occasionally the silence was broken by a wail or a moan. Among the seated could be seen a man gnashing his teeth and rending his hair.

Instinctively inching closer to my guide, I said, “Herr Bach, what is this awful place?”

“Ah, my child, you have now reached the lowest level of Musicians’ Hell. This is Suspension, reserved for only the greatest crimes against music.”

I turned away from the hall and looked up at him as he nodded to one of the proctors. “But sir,” I said, “I don’t understand. What did they do?”

Looking into the hall, he sighed. “They are guilty of writing bad liturgical music.” The proctor gave him a sideways glance, but said nothing. He looked back at me and said, “They are writers of what you call ‘Worship Songs’.”

A shudder went through my body and I slid even closer.

“These composers, for lack of a better term, are guilty of the most blatant disregard for good music. They have cast aside artistic integrity and solid craft in the name of ‘accessibility,’ of producing great quantities of music at great speed, and caring nothing for the quality of what they produce. Their individual crimes are numerous, but the sum of these crimes is nothing compared to the whole.”

“Sir?” I asked, not daring to finish the question as a wail split the silence.

“These writers are perhaps best known for their abuse of the modulation. For lack of ability to write anything musically captivating, or even interesting, they modulate, and almost always upward. It is not unheard of that a piece should end a perfect fifth higher than it began, simply from modulating toward the heavens. Contrary to their beliefs, these modulations did not actually get them to heaven,” he said with a grin. “Furthermore, they believe it interesting to begin a new unrelated key in the middle of the previous one, with no preparation whatsoever. It is not interesting, it is jarring and painful. There are pieces documented having upwards of twenty-one modulations.”

I shook my head in disbelief.

“But that is not all!” he continued. “Far from it. The sin that pains me most is their ludicrous syncopations. One rhythmic side-step to make things interesting is all well and good, even desired! But these people write insanity. Not a single note on a beat. The music falls over its own feet! It cannot stand up, much less dance. And they expect people to play and sing this nonsense – particularly untrained musicians! An abomination.”

He drew several breaths, looking at the floor, and gathered his composure. “Voice leading,” he said quietly. “They have no regard for voice leading.”

“But sir, aren’t the rules not rules, but conventions?” I asked.

“Yes, conventions that make it better for the singer! Hence the name: voice-leading. These parts are anything but easy to sing. Why should anyone be required to jump from a B-flat to an E at a final cadence? That is, quite simply, a crime. But besides that, their reliance on parallel fifths alone could earn them a place here. Parallel fifths, in and of themselves, are not necessarily terrible. But when a string of seven of them, being the bass of seven parallel major chords, comprises the entire phrase…” he trailed off. He needn’t say more.

I interjected. “Sir, B-flat to E? A tri-tone? At a cadence? Surely…”

“I assure you my child. It has happened. One time is too many, but it has happened far more than once. Why? Because these ‘composers’ have a complete disregard for harmony. Their love of unresolved suspensions is despicable beyond language.” He passed his hand over his brow. “They believe that so long as a section (never a whole piece!) begins and ends in the same key, they have the freedom to wander whither they will without consequence. It does not sound interesting – it sounds what it is! Aimless wandering! My child, the tri-tone at the cadence results from the favoring of the lowered seventh in major modes. Some unnameable cluster of notes including the B-flat comes just before the final blaze of C major, and the poor tenor must negotiate this leap because the ridiculous composer didn’t think.”

“Sir, that’s awful!” I said as I looked out over the masses. Still hunched over, still scribbling, gnawing on pencils, erasing furiously.

“Yes. It is. But so are the accompaniments they write for their vocal music.” He looked aside in disgust. “Many of them have a pre-recorded CD, so no instrumentalists are needed. These CDs, I assure you, are some of the most awful things produced. The CDs with live accompaniment are of some poor garage band or pick-up orchestra playing along to a click track. Every single one has a drum set, and rules of orchestration never enter the equation. Let us not mention the MIDI CDs. In the event that a piece comes with an actual instrumental part, it will be banal, awkward, or both. None of these composers understood that there was else a pianist could do besides arpeggios, octaves, and full chords.

“And the annoying tempi! There is no difference between a dotted quarter at sixty ‘steadily,’ or an eighty-four quarter ‘worshipfully,’ or a one-oh-six quarter ‘joyfully.’ They should all be obliterated and marked ‘Moderato: droll’ so as to not delude anyone into thinking they warrant energy or excitement.”

A proctor stopped at a man in the third row from us, bent over his work. The proctor pointed to a place on his paper; the man wept. He reached for a new piece of paper; the proctor moved on.

“And the thing you will perhaps find most disturbing, my child, is their bastardization of existing pieces. All that I have said before, all these terrible things, are applied to pieces already in the canon. I hope you never have to hear the worst that was done to the Star-Spangled Banner, or any number of hymns, or – I am sorry – the beloved theme from Beethoven’s Ninth Symphony, the so-called ‘Ode to Joy.’ These people change keys, rhythms, meters, harmonies and texts absolutely recklessly, without any regard for the original composers’ intentions, completely changing the meaning of the piece.”

Bach looked out over bowed heads with a mixture of loathing and pity. I swallowed the lump rising in my throat. “Sir, what could possibly be fitting punishment for so great a crime?”

He turned back to me with a glint in his eye.

“Species counterpoint.”

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