Präludium und Fuge h-moll

op.11 No.24

It is done!

Op.11 is now complete with 24 preludes and fugues.

For each semitone of the 12 diatonic notes of our chromatic scale there is now a prelude and a fugue.
Started in May this year and completed in October - so the development of this opus only took up about half a year of my precious free time (as you know, I work full-time in the IT department of our university hospital in Bonn).

There is, or rather was, certainly a lot of discussion about the playability of the score. Yes, I did not take the fingering into
and no, most of the pieces are not playable, or only with considerable effort.
I would simply call this the "unique selling point" of the work. Because by giving free rein to my imagination, a very versatile work has been created. I could very well imagine having some of the pieces played by a string quartet or quintet, the idea came from my friend Jean-Paul and I am already looking for a nice sample set for violin, viola, violoncello and double bass just to try it.

The preludes are quite versatile, there are many different forms of music to be heard. Baroque dance movements, such as gavotte and minuet, the French overture, and even the melody of a rock song surprise the listener again and again.
The fugues are in 3, 4 and some even in 5 voices. They are set relatively strictly, we hear the theme, the counterpoint that "hopefully" matches it, the inversion, and backward leading of the melody, as well as the augmentation, the diminution and in many different keys.

Stylistically, we are dealing with high baroque. Now, in contrast to my baroque contemporaries, I am in modern times, and everything that lies between the baroque and the present could flow into the compositions. In many places it does, so we find rhythmic and harmonic extensions and stylistic devices that sometimes go beyond the narrow framework of the baroque period.

This is also the case with this work, for which I have made use of a composition that is 3 1/2 years old.