Fugue for Orchestra


old school
no quibbling inferred Dave. I love the fact that the fugue has grown out of previous material and have done that often myself. It's exhilarating to dig as deep as you can with an idea via technique to see what you can find right? Yes, that kinetic impulse is there all right, very exciting as one can imagine the possibilities - so suggestive is the theme, especially the sequence in the consequent. If you feel you have unfinished business with it when you've finished the piece, perhaps do another work-out on it....:)
Dave Connor

Dave Connor

Senior Member
Mike, I really appreciate your interest and enthusiasm in this area! I agree with everything you’re saying. I was hoping in fact that this might demonstrate to some that forms we think don’t apply to today can be every bit as interesting and exciting as they were centuries ago.

You may remember my controversial discovery and labeling of a Hans Zimmer fugue in Dunkirk. Hardly conventional as it was done with non-pitched sounds he invented. Unmistakable though was this multi-part, multi-plane construction with 4 distinct repetitive motives. It felt like listening to Bach: it hit you that way. People missed it but it was glorious - ancient and futuristic at the same time. So there’s much to be done with these forms from the past. Stravinsky’s double fugue in the Symphony of Psalms or Bartok’s in Music for Strings Percussion and Celeste certainly show us that.