Felicia's Fantastic Fandango and Fugue (Kram, Richard)

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Performances

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Synthesized/MIDI

MP3 file (audio)
Richard Kram (2012/6/22)

MP3 file (audio)
Richard Kram (2012/6/22)

Performers Richard Kram
Publisher Info. Richard Kram
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Sheet Music

Piano Scores

PDF typeset by Richard Kram
Richard Kram (2012/6/22)

PDF typeset by Richard Kram
Richard Kram (2012/6/22)

Publisher. Info. Richard Kram
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PMLP384262-Felicias Fantasic Fandango.pdf
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General Information

Work Title Felicia's Fantastic Fandango and Fugue
Alternative. Title
Composer Kram, Richard
Key D major
Movements/SectionsMov'ts/Sec's 2
Year/Date of CompositionY/D of Comp. 1998/2008, 2011
Dedication Felicia Leicht
Average DurationAvg. Duration 9 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation Piano


Misc. Comments

I've decided to release a number of my more current piano pieces under the CC. Wrote this for my friend Felicia. Many people like it as it's written in a very accessible style. Originally there was only the first movement, which contains a little imitative/fughetto section using a Spanish-influenced motive. Never actually intended to write a real fugue. For that matter the piece is more of a Polonaise than a Fandango, but "Felicia's Polonaise with Imitative Bits" just didn't roll off the tongue very well. Years after the fact, I put a video of it on YouTube. Everyone kept criticizing it. "Where's the Fugue?" "I don't think you really know what a Fugue is!" I couldn't take the constant harping so I added a Fugal Second movement in 2011. The piece stands fine on its own with just the first movement as originally intended. But I like the unconventional Fugue I wrote too. It's polymetric and diverts into a more dance-like homophonic style as the opening minor subject is morphed into major Americana "homophonic fugue". So they are still probably looking for their fugue! The first movement is not too difficult except for the triplet bass accompaniment at times, and it can be played slower than noted if you like. The Fugue has some very challenging parts once the counterpoint starts going in full swing. I've posted a virtual performance so you can get a good idea of how the piece sounds.