【up主拙作介绍】全调性前奏曲与赋格——下

2020-12-15 20:47 作者:夳丣裛 0人读过 | 我要投稿

有关全集的源起、调音等，已写成序，不再赘述。

以下为下卷，24首中最后八副前奏曲与赋格的创作笔记。

No. 17 - Ab Major. (c. 1.50+5.10=7.00)

Prelude (Moderato) is an étude in 2/4 and common time. A study on polyrhythm and polytonality. Main materials are a serial arrangement of the Ab major diatonic scale as ostinato, a first theme made up of the D-natural major pentatonic scale, and a second theme which involves octave leaps and chromatic scale motion, and modulates through mediants (e.g. Bb to G). These themes are presented variously in simultaneous duple, triple, quintuple and septuple times, forming rhythmic counterpoint not unlike Stravinsky's Le Sacre. Two episodes involve the augmented triad as well.

前奏：练习曲、中板、四二拍转四四拍。模仿《春之祭》的复调复节奏（有二连音、三连音、五连音、七连音等同时出现）性质，降A大调音阶中的音组成序列，与调性、节奏上都毫不相干的两个主题形成尴尬的对位，通过中音及增和弦移调发展。

Fugue (Andante) is in 3 voices and common time (an episode is in 6/8). Theme entirely comprised of notes from the major pentatonic scale. An important countersubject in implied Dorian mode immediately appears in the expo. Development is widely varied in approach towards theme (transposed, inverted, augmented...) and countersubjects, often modulating suddenly. The BACH motive and augmented triads also sneak in during the development to aid in its chromaticism. Mostly light-hearted in mood until the bass clef reappears in the score.

赋格：三声部、行板、四四拍（间中一段为八六拍）。主题根植于五声音阶，第一副主题则偏向多里安调式。发展部对主题与副主题极尽变奏之能事，也常突然转调，通过BACH乐旨及增和弦等手段进一步半音化。尽管如此，全曲大多以高音谱号标记，氛围尽量轻快，直到尾声才出现低音。

Both completed 21 June. Dedicated to Mr Zhou E. G..

降A大调两首都于2017年（下同）6月21日完成，题献给小学高年级的华文老师（贵姓周）。

No. 18 - F Minor. (c. 2.25+6.00=8.25)

Prelude (Adagio molto) is a dirge in 12/8. Of ABAB form: A section is made up of chromatic ascension accompanied by a F-Ab dyad below, and B section is made up of a three-note Phrygian chant motive accompanied by an Ab-C/Db dyad below.

前奏：挽曲、极柔板、八·十二拍，呈二部曲式。

Fugue (Andante) is in 4 voices and 3/4; episodes which quote from Rachmaninoff's 2nd Elegiac Trio are in common time, and final 4 bars are in 5/4. Subject contains cells of minor thirds and major seconds. First countersubject is the retrograde of the subject proper; other countersubjects and materials used to develop the fugue include quartal harmony, the BACH motif, the above-mentioned Rachmaninoff quote, a tone row consisting of diminished seventh chords broken up and repeated up/down major thirds (e.g. C Eb Gb A E G Bb Db Ab B D F), and the subject of Bach's F Minor fugue in his first WTC (BWV 857). Eighth notes do not appear except in the Rachmaninoff quotations.

赋格（个人在全集中比较满意的一首）：四声部、行板，大多为四三拍（例外见下）。主题由小三度、大二度交替构成，第一副主题仅为主题的旋律逆行。其余副主题、发展部充斥着四度和声、BACH乐旨、类似降B小调赋格主题的十二音序列、巴赫《良率键盘曲集》第一本中的F小调赋格主题等。又两次引入拉赫玛尼诺夫《第二号挽歌三重奏》（Trio élégiaque No. 2）的乐段，并短暂转为四四拍；这两段也是全曲唯一出现八分音的段落，其余音符长度均保持在四分音以上。最后四个小节则为四五拍。

Both completed 22 June. Dedicated to the memory of Tunku Laksamana Johor.

F小调两首都于6月22日完成，题献纪念已故的柔佛苏丹三王子。（按：up主出身在马来西亚新山。）

No. 19 - Eb Major. (c. 2.00+2.50=4.50)

Prelude (Allegro - Maestoso) is a fanfare in arch form. First section is a quote from the Russian fanfare "Listen!" (Слушайте все!) and is repeated before the third section (with an augmented fifth) and in the coda (with canon in Ab and Bb). Second section comprises of quartal progressions typical of fanfares, and transformations of the BACH motif in the higher voices. The third section is a brief reprise of the subject from the previous fugue (F minor) supported by strong quartal, tertian and secundal chords (or clusters), after which the second section is repeated in another key and the coda follows soon after. Completed 23 June.

前奏：开场号、快板-庄严地、四四拍。ABA'CBA形式，A段引自前苏联的阅兵开场小号“听！”，B段又是四度和声支撑BACH乐旨，C段则回溯F小调赋格的主题。

Fugue (Allegro - Maestoso - Tempo prima) is in 4 voices and alternating 3/4 and 6/8. Theme rapidly switches between a waltz and a jig tempo. An assortment of countersubjects and harmonic devices used in the previous fugues are reused here: BACH, DSCH, chromatic scale, whole tone scale (the first countersubject is purely the last bar of the subject repeated six times, each repetition a whole tone lower), quartal harmony... Becomes more and more fragmented as more episodes are inserted, including an imitation of a false subject entry in Bm and F#m in the higher voices with an ostinato figure in the bass, a reminiscence of the majestic fanfare-like atmosphere of the prelude (marked by rituando canon of first countersubject into the Maestoso section) and a quotation of the Tristan chord soon after. Coda (linked with previous episode by acclerando canon of first countersubject) is a chromatic (and quartal) stretto, and Eb major abruptly returns only in the last two bars (even then the 2nd last bar is largely still pandiatonic). Completed 24 June.

赋格：四声部、快板-庄严地-原速度、四三拍兼八六拍。主题节奏在圆舞曲和吉格舞曲中徘徊，副主题则循环利用了前作中用到的BACH、DSCH、十二音阶、全音阶、四度和声等等乐思。发展中的“庄严”段落回溯前奏的开场号曲风，却连接到特里斯坦和弦及唐突的结尾。

Dedicated to Sng Y. X. (President of NYJC's 39th Student Council).

降E大调前奏于6月23日完成，赋格隔天完成。题献给初级学院的学生会会长（贵姓孙）。

No. 20 - C Minor. (c. 1.50+7.35=9.25)

Prelude is a recitative in free time (i.e. neither time signatures nor tempo markings are present throughout. The performer is free to interpret the flow of tempi in this prelude and is welcome to improvise). Basically, a variation of the first prelude in C Major. Additional material includes chromatic scalewise motion, quote from the subject of the previous fugue (Eb Major), and tonally ambiguous chords.

前奏：咏叹调，散板。C大调前奏的变奏版本，有引述前一首赋格（降E大调）的主题，并增添半音化元素。音档严格按照乐谱生成，但实际演奏时可根据谱上的和弦即兴发挥。

Fugue (Lento grandioso - Largo giocoso) is in 3 voices and 6/4. Theme is a slow march comprising of single dotted crotchets, double dotted quavers and triplets as its most significant rhythms and is melodically within clear C minor (except for leading tritones). Due to the lengthy nature of the subject, the development is also drawn out. The last episode is entirely in bass clef, made up of descending chromatic, whole tone and quartal scales, and signalling perhaps the fall of heroism. After this the dotted rhythms reappear before dying out in the higher voices; the pastoral (or perhaps reflective, autumnal, even melancholic) Largo giocoso coda in C major soon follows, featuring a quartal osciliating pattern resembling a lullaby, as the fugue subject is recapitulated and disappears into the Mahlerian morendo that is the last bar.

赋格：三声部、壮阔的慢板-舒适的广板、四六拍。主题漫长具慢进行曲风，带有单附点、双附点音、三连音等，因此呈现、发展时也缓慢地根据这些特征变奏。尾声前的乐段最为低沉，参杂半音、全音和四度和声，象征英雄一去不复返；尾声则移到C大调，为摇篮曲风，模仿马勒《大地之歌》尾声的意境。

Both completed 25 June. Dedicated to the class of 1629.

C小调两首都于6月25日完成，题献给初级学院的同班同学们。

No. 21 - Bb Major. (c. 2.55+1.10=4.05)

Prelude (Andantino) is a mazurka in 3/4 (some transitional bars in 5/4). Starts with the end of the first theme alone. The first theme, then the second theme are presented and recapped in rondo fashion. A march-like episode follows, softening into a final appearance of the beginning of the first theme, ending with an upward B-flat major scale frenzy. Completed 2 July.

前奏：马祖卡舞曲、小行板、四三拍（参杂四五拍）。突兀地以主题的后一个乐段独奏开始，再回旋呈现两个主题。尾声前转入低音沉重的进行曲风，导入轻柔的第一主题。

Fugue (Presto) is in 4 voices and 3/4. Theme features rapid triple 32nd notes, hinting at the fleeting and unsustainable nature of the fugue. The development is the retrograde of the exposition plus free counterpoint. After the development, a coda inspired by that of the scherzo in Beethoven's Hammarklavier Sonata follows, ending with Bb major and an added augmented fifth (hints at the final chord of the final fugue). Completed 11 September, after a 2-month hiatus.

赋格（这首和F大调的都写得很马虎）：四声部、急板、四三拍。主题昵称“赶着投胎”，以三十二分音符居多。发展部也一闪而过，只有主题的旋律逆行和散漫的自由对位。最后以贝多芬降B大调第29号钢琴奏鸣曲诙谐曲的方式，加以不和谐的半音（又在暗示D小调-大调对立）仓促结束。

Dedicated to YGOS.

降B大调前奏于7月2日完成，赋格由于学业关系，延至9月11日完成。本来题献给某组织，后基于个人理由取消。

No. 22 – G Minor (c. 3.05+5.35=8.40)

Prelude (Adagio - Largo) is an intermezzo in common time, based on the name of Alban Berg (Bn E D G A Bb A) and a series of chords that shift in the fashion of Satie's Gymnopedics. Completed 11 September.

前奏：间奏曲、柔板-广板、四四拍。基于贝尔格的音名乐旨发展旋律，伴以萨蒂轻音乐式的和弦。

Fugue (Adagio) is in 3 voices and common time. Subject is winding and meditative in nature, and quotes from the slow movement of Bruckner's 9th symphony. Countersubjects include the BACH and BERG cryptograms, up-and-down scalewise motion, and quartal progressions, all of which gradually overtake the prominence of the subject. The inverse of the subject in Eb appears in the bass midway, and the subject is from then onwards only presented partially (either by false entries or in stretto). Completed 13 September.

赋格：三声部、柔板、四四拍。主题也是全集中较迂回内敛的一个，其中引用了布鲁克纳第9号交响曲慢乐章的乐思。副主题交织BACH和BERG乐旨、上下音阶、四度和声，并渐渐喧宾夺主，导致尾声中主题并无完整重现，只有零碎的不完全出现。

Dedicated to the memory of Berg.

G小调前奏于9月11日完成，赋格13日完成。题献纪念贝尔格。

No. 23 – F Major (c. 2.00+2.25=4.25)

Prelude (Allegretto) is a table canon in common time. There are two table canons proper, with the top voice in treble and lower voice in bass. The two table canons alternate in rondo fashion (ABA'B'A), with dissonance counterpoint added in the middle A' and B' sections. This is then followed by a coda which is an inverse fugue followed by a F major cadence with neapolitan (F#) dissonance. Completed 15 September.

前奏：桌式卡农、小快板、四四拍，有两个主题，以回旋曲式呈现。中间部和尾声参杂不和谐音，除此是纯粹的F大调、D小调。

Fugue (Presto) is in 4 voices and 3/4 time. The theme is extremely rapid, though spanning over 11 bars. Countersubjects are discarded almost instantly due to the rapid nature of the fugue, but certain motives like BACH, DSCH and octatonic scales prevade, leading to a very dissonant and transient development which is repeated again note for note (from the middle of the 2nd voice's entry), the only such instance among the fugues in the book. The 4th subject enters in D major, the only instance where a subject enters in a key apart from the tonic or dominant among the fugues in the book as well. The coda recalls the first fugue, the foundation of the themes for every fugue in the book, including the F major; it ends with a parallel trill, a comedic cadence and a suddenly serious D-A progression, hinting at the grave nature of the next and final set. Completed 25 November.

赋格：四声部、急板、四三拍。速度之快，使得主题虽长11小节却不过几秒。副主题包括BACH、DSCH、八声音阶等。第四声部呈现主题时为D大调，是全集中唯一一次不以主调或属调呈现的声部。这首赋格也是全集（附录除外）唯一有重复符号的。种种再次循环利用前作中的乐思，并在不断重复中尝试突破（不成），承先（回顾C大调赋格的奠基）启后（尾声的五度暗示D小调前奏与赋格的肃杀）。

Dedicated to the composer's younger sister.

F大调前奏于9月15日完成，赋格于A水准（对等于高考）过后的11月25日完成。题献给up主的妹妹。

No. 24 - D Minor (c. 7.00+13.20=20.20)

Prelude (Adagio maestoso - Lento subito) is a Folia (a set of variations based on the later la Folia) in 3/4. The original Folia is played first, fully harmonized, as the theme on which 17 variations develop. The first variation closely resembles the theme; however, each of the subsequent variations drops the last bar of its previous variation, such that by the last variation, only a single bar of two D notes can be heard. Also, the principle themes of every fugue in the opus is quoted (including a foreshadowing of the final fugue to follow), accompanied by dissonant cluster notes and polyrhythm. As the fugue quotations subside, the Schnittke, Bach and Shostakovich cryptograms dominate the bass, before temporarily giving way to a quotation from Bach's famous C Minor Passacaglia. Elements that unite the whole opus, including chromatic ascent/descent, quartal harmony and the use of extreme registers, reappear in this prelude as a preparation for the end of the work. Completed 16 November, before the completion of the fugue in F major (the only instance of a later prelude being completed before the previous fugue in this set).

前奏：福利亚舞曲、庄严的柔板-突然的慢板、四三拍。主题呈现和变奏一大致一样，但之后的十六个变奏逐渐舍去前一个变奏的最后一小节（因此最后一个变奏只有两个D音）。变奏的同时也以不和谐音和复节奏等方式，回顾了前23首赋格的主题和乐思，引用了巴赫的C小调帕萨卡里亚舞曲主题，并暗示后来赋格的三个主题。

Fugue (Adagio - alla breve - tempo prima - largo funebre), the only triple fugue (with the 2nd and 3rd subjects presented concurrently) in the set, is in 5 voices and cut time. First theme is as pure as that of the C Major fugue, but its prominence is soon obscured by false cadences (followed by Brucknerian pauses), dissonant counterpoint and the invasion of the BACH and DSCH cryptograms, which form the second theme; this second theme is formally expositioned together with the Schnittke cryptogram, which is the third theme, and then developed on its own, before letting the Schnittke (AFEDSCH) take over for its individual development section, which sounds cheerful at the beginning. However, as its exposition drifts according to the circle of fifths, it gets gradually darker (worsened by references to the Enharmonic Addendum), to the point of despair when the pure first and 'pioneer' second themes return in stretto to try and salvage the overlong and dreadful fugue altogether. Their efforts, though beautiful at times, ultimately fail, and all the five voices cluster together before each drifting into the extreme high and low registers of the piano. Throughout, a dotted-rhythm descending scale (like the theme of the F# Minor Fugue, also a reference to Brahms’ 4th symphony), quartal harmony and equally spaced intervals (augmented triads, diminished sevenths, whole-tone and semitonal clusters), all of which unify the whole opus, reoccur as well. However, these all evaporate in the largo funebre coda, which features a pedal D in the basses, the quartal (D-)E-A-D motive in the middle voice, and a clashing F-Gb (F#) in the upper voices. Serving as the 'dead end' of this opus, it is also the longest fugue in the set. Completed 1 December.

赋格：三重五声部、柔板-双倍快-原速度-丧葬的广板、二二拍。第一主题纯洁如C大调赋格的主题，但发展时经常停顿不前，受到不和谐和声与后两个主题干扰。第二主题由BACH和DSCH乐旨结合成，第三主题则为题献者施尼特凯的音名乐旨（后四个音同DSCH），这两个主题先同时呈现，再各自呈现发展，而第三主题的发展音域较高昂。三个主题再结合后，依此出现四度和弦、增和弦、减和弦、全音音块和半音音块，导向钢琴最低的A和第二高的C不断敲奏，算是全集的反高潮。间中有一个副主题，主导者丧葬式的尾声，作曲完毕回听时才发现，也出现在勃拉姆斯和马勒的交响曲中，想必有其自己的特殊魅力和意涵。尾声也再次强调全集大小调模糊混同的特征，其实引自施尼特凯的《中提琴协奏曲》……