Chitpong

A three-part fugue in grave, serious tone. It's simple and sparse, yet maintain fugal devices and complexity. There is a feeling of unstoppable gravitation that pulls one into something, whatever it is that would depend on a listener. This fugue is composed straight in one day. In term of structure, there is a small deviation from the strict requirement in the exposition part. In one voice I replace the Counter Subject with a free counterpoint. It is needed for aesthetic reason – to represent the progression and development of the theme more musically. This is the first time that I deviate from the strict requirement of the exposition part.

A minimal and very short prelude. A contemplation and a rest, to pause and clear up for the things to come – the fugue in A minor.

A lively and refreshing fugue. It is very difficult to play because of the speed and complexity. It is a piece of festive mood. A thoroughly positive outlook. Playful yet thoughtful, with a relentless drive forward.

The first prelude of Episode 4. A simple, straightforward piece without any pretension. A direct portrayal of a state of being and a state of mind. This is the final version that has a revised main melodic motive because one of the listener kindly pointed out that the original melody was similar to a well known country song, which was a pure coincidence.

The last fugue of Episode 3. A non-traditional fugue because the subject and its musical idea are based not on a melody but a rhythmic pattern – the same device Beethoven famously used in Symphony No.5. This fugue does not please its listeners. It has a feeling of being unsetling and unfinished. It literally asks for a resolution in Episode 4 which will be the last episode of Preludes & Fugues.