48 Preludes & Fugues: Episode 2 is the second set of four-episode preludes and fugues composed by Chitpong Kittinaradorn in 2017-8.

This Episode explores and expresses a range of human experience that one could observe externally. They could be abstract phenomena of nature such as downward (Prelude in E-flat major No.13), tiding (Prelude in E minor No.19), human curvature (Fugue in E minor No.20), grandeur (Fugue in D-sharp minor No.18). They could also be real human and cultural phenomena such as soundscape of the East (Fugue in E-flat pentatonic No.14), soundscape of the ancient (Prelude in D-sharp aeolian No.15), childhood (prelude and fugue in F major No.21,22), aging (prelude and fugue in E major No.17,18), and suspense (prelude and fugue in F minor No.23,24). These preludes and fugues in Episode 2 are my most outward looking pieces, in contrast to the next Episode which is all about inner feelings and reflection.

48 Preludes & Fugues: Episode 2

The second episode of Preludes and Fugues Opus 2 starts with this prelude. This is my first 'real' prelude in term of style and form which are supposedly fluid and free. Actually, it is mainly a canvas of sound shapes and forms – a musical abstract that has no explicit content on the surface. This is also the first time that I use sustain pedal in a prelude.

Prelude In E-flat Major

A fugue in pentatonic scale. A test of how our Asian melodies and harmonic system could be put into a fugue framework. It is an Asian music with intricacies of melodic and harmonic relations not normally heard in traditional compositions.

Fugue In E-flat Pentatonic

A study of Aeolian mode or 'natural minor key'. This mode lacks the leading tone on the seventh, therefore the rule of harmony has to be different from the usual minor key. Harmonic progressions in modal music tend to 'oscillate' near and around the tonic. This gives modes a unique soundscape which can be felt as archaic and unsophisticated, but when done carefully can be strangely charming.

Prelude In D-sharp Aeolian

My first attempt at an 'epic' fugue. By epic it means the fugue is comparatively grand in length, complexity, and emotional gravity. It is almost 5 minutes long, consists of no less than 5 episodes, one main subject and several secondary subjects, modulating through at least 5 different tonal centres ('keys'). I also notice that my preludes and fugues are gradually more dissonant but still maintain tonality.

Fugue In D-sharp Minor

When my wife listened to this prelude for the first time, she described it as 'an-old-man-who-do-things-repeatedly's prelude'. Her imagination is often hilarious and unexpected, but mostly accurate and sound. So this prelude speaks about the lighter side of being old – one of a life's basic suffering.

Prelude In E Major

I compose classical music to pursue the truth and the beauty. It's a way to discover what is meant to be living, and what is meant to be part of nature.