{"id":1545,"date":"2016-01-23T11:49:00","date_gmt":"2016-01-23T09:49:00","guid":{"rendered":"http:\/\/partitura.org\/?p=1545"},"modified":"2018-06-15T21:01:47","modified_gmt":"2018-06-15T19:01:47","slug":"simon-lohet-quinta-fuga","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/simon-lohet-quinta-fuga\/","title":{"rendered":"Simon Lohet, Quinta Fuga"},"content":{"rendered":"

Lohet’s Quinta Fuga (I follow the designation in the original Edition, instead of naming it Fuga Quinta) shows its Renaissance roots more than the previous four. It uses frequent repeated chords, a device we nowadays don’t associate with the contrapuntal style of a fugue. And it uses (again) frequent parallel fifths and octaves. These are either a characteristic for the instrumental music of the period, or Lohet was (in this respect) a very bad composer. Interesting (and for me unexpected) is also the e flat in the bass voice in bar 43 against the d in the alto voice. Perhaps an error in voice leading by Lohet, but it sure results in a colourfull harmony.<\/p>\n

In the original edition there is no indication whether the bass-part should be played on the pedals or not. I wanted to use the pedals in this fugue. But for the purist, or those who think it sounds better that way, I made a manualiter score as well. <\/p>\n

The recording was done on the sample set of the Silbermann organ of the Stadtkirche Z\u00f6blitz by Prospectum<\/a>.<\/p>\n

Score<\/strong>
\n\"pdf_icon\"Lohet, Quinta Fuga<\/a><\/p>\n

Score (manualiter)<\/strong>
\n\"pdf_icon\"Lohet, Quinta Fuga (manualiter)<\/a><\/p>\n

MP3:<\/strong>
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