Composer

:

Arthur Honegger

Genre

:

Keyboard

Style

:

Fugue

Compose Date

:

1932

Publication Date

:

1989

Average_duration

:

6:16

Movement_count

:

3

Movement ....

Arthur Honegger's 'Prélude, Arioso & Fughette sur le nom de Bach, H. 81' is a three-movement work for solo piano. It was composed in 1942 and premiered in the same year by pianist Yvonne Lefébure. The first movement, 'Prélude', is marked 'modéré' and is characterized by its flowing, lyrical melody. The piece begins with a simple, repeated motif in the left hand, which is then joined by a more complex melody in the right hand. The two hands intertwine throughout the piece, creating a sense of unity and balance. The 'Prélude' is notable for its use of chromaticism and dissonance, which give the piece a sense of tension and unease. The second movement, 'Arioso', is marked 'lent et expressif' and is a slow, contemplative piece. The melody is simple and plaintive, with a sense of longing and melancholy. The left hand provides a gentle accompaniment, with occasional bursts of arpeggios and chords. The 'Arioso' is notable for its use of rubato, with the performer given freedom to stretch and compress the tempo as they see fit. The final movement, 'Fughette sur le nom de Bach', is marked 'vif et léger' and is a lively, playful piece. The melody is based on the notes B-A-C-H (B flat, A, C, B natural), which are used as the basis for the fugue subject. The piece is characterized by its contrapuntal texture, with the right and left hands playing off each other in a lively dance. The 'Fughette' is notable for its use of syncopation and rhythmic complexity, which give the piece a sense of energy and vitality. Overall, 'Prélude, Arioso & Fughette sur le nom de Bach' is a masterful work that showcases Honegger's skill as a composer. The piece is notable for its use of chromaticism, dissonance, rubato, and contrapuntal texture, which give the work a sense of depth and complexity. The piece is a fitting tribute to the great composer Johann Sebastian Bach, whose influence can be heard throughout the work.

More....