Chitpong

A fugue that is barely a fugue. The structure and style are more similar to chamber music of classical period, with some hint of Italian keyboard solo style. Altogether this is one of the more experimental work. The musical content is a continuation of Prelude in A-flat major No.33: A simple, lively theme is now developed to face the harsh reality, leading to a resolution and come back to the purity.

Back to a simple, flowing and relaxing prelude with this Prelude in A-flat major. A comeback to an innocent mind after these all seriousness of lives.

A highly abstract, academic fugue. The pattern is very steady and symmetrical, with special focus on imitation of voices, either obvious or hidden. Although it is very stoic in structure, this fugue is at the same time one of the most expressive piece that I have written. It contains so many feelings, many contrasting yet connecting emotion, all presented in a very steady, predicative way. It can be viewed as in pair with Fugue in F# minor No.28 because both share the same steady basic rhythm and stoic nature. You can call No.28 the brother because it is more forceful, more direct; and this Fugue No.32 the sister as it is more 'feminine', more expressive.

A special fugue on the verse of a Buddhist chant: Homage to Dhamma (บทสรรเสริญพระธรรมคุณ). Composing a classical music based on traditional prayer chant melodies is incredibly difficult. Melodies tend to be monotonous and repetitive. There needs to be deviations from the original melodies, not to mention musical development which adds further to the departure. As the piece develops, there is some point that the piece becomes almost unrecognisable, therefore a composer has to bring back the original 'tune' into the developed and departed music. This piece is a loose interpretation of the original melody. It is however filled with symbolic meanings which are very open to personal interpretation. It is pure music and applied music at the same time. At least this is what I hope has accomplished with this one.