Chitpong

Dear all, I would like to release the original composition of 48 Preludes & Fugues album by Chitpong Kittinaradorn, containing 24 pairs of preludes and fugues in all major and minor keys for piano. Please enjoy them on SoundCloud: Episode 1: No.1-12 is omitted because of the lack of storage space. Episode 2: No.13-24 Episode 3: No.25-36 Episode 4: No.37-46 If you would like the audio files and the booklet, please let me know via contact found in the last page of the booklet!

The final fugue and the final piece of 48 Preludes & Fugues. This is the music that is truest to my consciousness, worthy of being an ending piece of this year-long effort. Fugue in B minor is a four-part double fugue with four episodes. Each subject comprises two episodes. At 5:21 minutes, it is the longest piece in the set, containing the highest note and the lowest note. It also features all fugue-specific techniques (that I know of): stretto, false entry, diminution, and double exposition.

The last prelude. The prelude that ends them all. In Episode 4, my aim is to pursue 'True Music' – a music that is true to the heart, without meaningless sentences or unnecessary adornment. This prelude is the culmination of this approach, the truest possible piece of art. It is simply a fantasy in five parts, with stark but clear soundscape. It also works to pre-orient listeners to the gravity and seriousness of the last fugue.

The last fugue in major key, closely related with the prelude. A happy farewell to living things that have grown and blossomed into intricate and beauty beings.

Fugue in B-flat minor continues on a theme of requiem. However, it sits at the very opposite end of the requiem prelude no.43 in term of the strictness of form. While the prelude was constructed on a very rigid passacaglia form, this fugue could rather be a fantasia. It is very fluid, the forms are there, but they are not obvious. There are form inside form, for example, a passacaglia episode inside a fugue, which use fugue subject as melodic variations on the fixed bass pattern. The fugue is also highly dissonant, and perhaps generally not pleasing especially when listen for the first time. In fact, I intentionally avoid many 'cliche' and opt to use unconventional meter, melodic motive, harmonic progression, and texture. I wanted to push the boundary of fugue further. It's the sound that's above earth, and possible, beyond human.

The last prelude in major key of Preludes & Fugues. A farewell ballad in a loose binary AB form. This is as simple it it could be.