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Twelve Preludes and Fugues for Piano by Alan Belkin
©Alan Belkin, 2008
Twelve Preludes and Fugues for Piano by Alan Belkin
These twelve preludes and fugues were written as a demonstration of what can be done, in a novel way, in a very familiar form. Each fugue has something unusual about its material and/or construction.
1. After a rather grandiose prelude, This 2 part fugue has a rather playful, repetitive subject, with a “wrong note” leap, and odd pauses.
2. A wild prelude lead into this slow, serious fugue, which ends with an exposition in reverse, thinning down the texture.
3. After this wistful prelude, I wanted to see if it was possible to write a dreamy fugue. This one wanders quietly over the keyboard and twice seems to be entirely fading away. This is also the only fugue in the set to use its theme in retrograde.
4. A rather severe, chordal prelude, leads into this stretto fugue. Unusually, each stretto increases the interval of the leaps in the subject (third, fourth, fifth, sixth, and finally seventh), engendering unusual harmonic changes.
5. After a very sweet and gentle prelude, this extremely energetic fugue has a very wide ranging subject, which requires unusual treatment: it is sometimes shared between the two outer voices. The middle of the fugue contains 2 entries of the countersubject, but without the subject. The fugue ends with a close stretto.
6. After a lively, playful prelude, this is also a playful fugue, almost a joke, on a silly subject.
7. The prelude is a free little 2 part invention. The very introspective fugue has a rhythmically complex subject and countersubject, which require considerable elaboration. It also ends on an unexpectedly dreamy note.
8. The prelude is a wild little toccata. The subject of this fugue is not entirely monophonic, leading to unusual flexibility of texture.
9. The prelude here has 2 planes of tone: One is melodic, the other is distant chords, spaced far apart. The fugue uses a subject with an odd, symmetrical mode, which creates various unusual harmonic situations, including a very unconventional answer. It ends oddly, by fragmenting into silences.
10. This prelude is a study in interruptions. This fugue tries again and again to steer into “atonal” harmony, only to fail, discouraged, at the end.
11. A massive prelude leads to a very light fugue The subject here consists of 2 notes arguing. Only the arrival of a third note settles the feud. Various humorous events follow up on this argument.
12. After a rather mysterious prelude, this final fugue, on a complex. chromatic subject, is richly scored for the piano, and rises to the biggest climax in the whole series. Unusually, it contains several entirely homophonic episodes.
N.B. In the fugues, I have usually only indicated articulation the first time a theme is presented.
These preludes and fugues need not be all played together; various groupings are possible. If the last prelude and fugue is included however, it should be played at the end of the series. The whole series takes about one hour when played complete. The Preludes, even when contrasting in character, are in the nature of introductions to the fugues. There should be not more than a couple of seconds pause between each prelude and its fugue. Timings are approximate. This collection is dedicated to my best friend, Charles Lafleur. For too many reasons to list!
Maestoso q=80Prelude and Fugue #1
copyright, Alan Belkin, 2008
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3 3
3 3
7
3
3
12
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3 3 3
33 3
17
3
ff
3
3
3
24
pp
ff
3
3
Vivace q=100
p
7
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11
16
20
2
24
rit.
a tempo
p
27
30
34
2 1 2 3 1 3 4 5
38
3 2
40
3
44
48
52
56
60
64
4
67
mf subito
f
42 3 4
71
mf
4
75
f
1 2 2
79
p
1 4
83
cresc.
poco allarg.86
a tempo
f
pp
ff
4.5 minutes
5
Con fuoco q = 85
Prelude and Fugue #2
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4
2
7
ff
1
poco rit.10 a tempo
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2
1ff
13
16
rit.
p
pp
6
Adagio e = 76
p
5
8
11
14
7
17
20
22
24
27
8
30
33
35
37
rit.
6 minutes
9
Andante e = 140
Prelude and Fugue #3
pp dolcissimo
simile
6
13
18
poco rit.
pp
a tempo24
simile
29
poco rit.
10
Adagio con moto e = 100
p dolce, con ped.
3 poco rit. a tempo
p
5
7
11
9
poco rit. a tempo11
p
13
poco rit.15 a tempo
pp
12
17poco rit. a tempo
p
19
21 poco rit.
a tempo23 rit.
pp
una corda
6 minutes
13
Con Moto q = 60
Prelude and Fugue #4
p
8
f
15
f
21
p
ppuna corda
28 rit.
14
Adagio, ma con moto e = 100
pdolce, molto cantabile
6
10
14
18
15
22
26
30
poco allarg.
34
a tempo
rit.
1 2 3
5 minutes
16
Andante q = 75
dolce, misteriosopp
6
10
14
pp
poco rit.17
a tempo poco meno mosso
pp
attacca
17
Con brio q = 105
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3 3 3
10
5
3
3 3 3
33 3 3 3 3 3 3
3 3 3
15
3 3 3 33 3 3
3 3
3 3 3 3
3
3 3
3 3 3
20
3 1
3 3 33 3 3 3 3 3
3 3 3
1 2 1
4 5
3 1
3
3
3 3
3 3 3 3
24
3
33 3 3 3 3 3 3 3
5
3 3 3 3 3 3
3
3
28
3 3 3 3
3 33 3
3
3 3
3 3 3 3 3 3
18
32
4
2
33
3 33 3 3 3
33
3
3 3
36
3 3 3 3
3
3 3
3 3 33
3 3 3
3
3 3
3
41
2 4 1
3 3 3
33
5
4
3 3
3 3 3 3 3 3 3 3 3 3 3
3 3
46
3 3
1
3 2 3
3
3 33 3 3 3 3 3
3 3 3 3 3
51
p
3
3
3 3 3 3 3 33 3
3 3 3 3 3 3
56
mf
3 3 3
2 3 1
3
3 3
3 3
3
3 3 3 3 3 3
3 3
19
61
3 3 3 3
3 3 3 3 3 3 3 3 3 3 3
66
4
f
3 3 3 3 3 33
33
3 3 3
3 3 3 3 3
3 3
3 3 3 3
71
4 5
33 3
3
3 3 3 3 33 3 3
3 3 3
76
3 4 1
2 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
82
4 4
1
3
3
3
3
3
3
3
33
3 3 3
3 3 33 3 3
3
3
3
3
3
3
3
3 3 3
20
88
3 3 3 3
3 3 3
3
3
3 3 3
3 3 3 3 3 3
93
3 3 3
3
3 3 3 3 3
5
3 3 3
3 3 3
3 3 3
97
p sub.
3 3 3 3 3 3 3 3
3
3 3 3 3 3
3
3
3
102
ff
3 3
3
33 3 3
110
allargando
3
33
5 minutes
3 3 3
21
Presto e= 170
Prelude and Fugue #6
f
senza ped.p
simile
8
16
23
30
37
con ped. senza ped.
p
con ped.
mp
22
Scherzando q = 80
p
3 33
3 3
6
3 33 3
3
3 3 3
3 3
11
3 3
1
1
3
1
33
36
3
3 3 33 3 3 3
15
mf
3
3 3
6 3 3
3
3
3
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6 6
23
19
p
3 3
3 33
3
33
3 3
3
24
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f
3
3
3
3
3
3
29
3
3
3
2
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3
3
3
33
3 3
33
3
3 3
3
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5
4
5-4
3 3
3
3
3
3
24
37
p
3 3 3
3
3
33 6
40
3
3
3 6
3
3
3
3
3
3
3
43
poco rit.
a tempo
pp
3 2
p
pp
3
6
3
3
3 33 3
3 3
47
f
p
pp
3
3
3 3 3
3
ff
3.5 minutes
3
3 3 3 3
25
Allegro scherzando q=95
Prelude and Fugue #7
copyright Alan Belkin, 2008
p
5
9
13
17
poco rit.a tempo
poco
p
21
1 1 2
24
26
Largo e = 80
p
sempre cantabile
5
3 3 3 3 3 3
8
3 3
33
33 3
3 3 3
11
3 3
3 3 3
3 3
3
3
3
3
3 3
14
3 3
3 3 3
3 3
3 3 3 3 3 3 3
27
17
3
3 3
3
20
3
3 3 33 3
23
3 3 3
3 3 3 3 3 3
26
3
3 33
33
28
29
3
3
31
3 3
3 3 3 3
3
3 3 3
3 3 3 3
34
33 3
3 3 3
37
3 3 3
40
3
3 3
29
42
cresc.
3 3
3 3 3 3
44
3 3 3
3
3
3
3 3
3 3
3
3
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47
rit. Meno Mosso
f
pp
3
3
3
3 3 3
una corda
3
51rit.
Adagio
p
pp
ppp
3
7 minutes
30
Vivace q. = 85
Prelude and Fugue #8
f
8
15
mf f
mf f
23
30
35
p
f
31
Adagio e = 76
p
6
10
13
32
17
mf
p
20
24
27
mf
33
30
32
pp
36
mf
39
poco a poco allargando Meno Mosso e = 80
f
42
mf
p
pp
5 minutes
34
Andante q=70
Prelude and Fugue #9
p
pp
p
pp
p
pp
9
p
pp
p
pp
17
p
pp
p
pp
25
p
28rit.
pp
p
pp
35
Moderato q=70
p
6
10
14
4
4
5
36
18
21
4 2
2 1
24
27
37
30
33
3
37
41
poco meno mosso
pp
3.5 minutes
38
Molto moderato q = 70Prelude and Fugue #10
p
5
9
13
meno mosso
39
Vivace e = 180
p
7
12
17rit.
5-3
40
a tempo22
mf
26
p
31
35
mf
41
39
44
p
49
53
mf
56
42
60
p
64
67
con ped. (fully pedaled sound for the first time in this piece)una corda
pp
69
71
rit.
3.5 minutes
43
Maestoso q=60Prelude and Fugue #11
p
p
p
p
ff
ff
ff
ff
6
p
p
p
p
ff
ff
ff
ff
11
p
p
p
p
ff
ff
ff
16
molto allarg.
p
p
ff
ff
ff
ff
44
Scherzando q=104
f
sfz
9
sfz
16
sfz
p subito
f
4
23
4
sfz
p
4 2
30
sfz
4
mf5-4 5 4
35
p
5
5
45
40
mf
p
sfz
46
mf
sfz
3
52 poco allarg.
3
a tempo q=11058
f
sfz
sfz
p
f sfz
p
sfz
sfz
65
poco ritente a tempo
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sfz
pp
f
sfz
ff
sfz
sfz
sfz
p
3 minutes
46
Lento e misterioso q = 60
Prelude and Fugue #12
pp una corda
5
p tre corde
11
pp una corda
17 pp
p tre corde
47
22
pp
p
28
pp una corda
ppp
tre corde
ff
32
f
37
mf
p
mf
f
ff
48
Largo e = 70
pp
6
10
13
poco rit.
a tempo
mf
17
49
21
p
24
26
29
33
p
50
37
41
44
47
49
f
51
51
53
poco allarg.55
a tempopoco allarg.
3
a tempo58
poco allarg.
ff
5 minutes, 30 seconds
52
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