Piano Trio Op. 17

This flute quartet is dedicated to a dear teacher and their ensemble of four passionate kids.
It features an intro, a recurring chorus, two solo parts, a duet and finishes with a four-part canon at the unison.
Each note represents a word or syllable - thus the piece could be sung by a four-part choir.

Flötenquartett in C Dur, Op. 21

The prelude is rather at odds with the polyphonic nature of the fugue. It is an attempt to provide a stark contrast to what is to come and was composed as an exercise to practice dynamic as well textural and rhythmic changes within the short piece.
The fugue itself consists of four voices and is written as an exercise in triple counterpoint. It consists of two parts - first the theme in its original form and later the theme in inversion.

Prelude and Fugue In F#, Op. 22

The composer likes to call the two fugues 'canon fugues' as they feature several three to four-voiced extended canons acting as modulating sequences and episodes.

Prelude(s) And Fugue(s) In F#m, Op. 23

In the prelude, as has been the custom in previous preludes, the composer attempts to practice certain compositional techniques - a pedal (bass) being the subject in this piece. The entire prelude features only the notes C# (first half) and G# (second half) as bass notes. The music moves from C# major to F# major back to C# (G#7 - the dominant of C#). 

The fugue features three independent subjects which are each accompanied by their individual countersubjects (commonly referred to as a triple fugue). Each subject is granted a full exposition including all four voices.
After all three subjects are properly established, they then make an appearance in pairs (subject 1 and 2, 1 and 3 and 2 and 3 together) and ultimately climax in a coda featuring all three main subjects in the form of a three voiced canon.

Fugue And Prelude No. 13 in C#, Op. 24

The first part of the prelude consists of a canon at the octave two measures apart. It is written in double counterpoint at the tenth which allows the melodies later to be doubled by thirds and sixths - the main purpose of this prelude (exercice).
the second part features that same canon but this time in inversion at the fifth with inclusion of thirds and sixths to thicken the harmony.
The coda is a recapitulation of the canon in its original form and finishes with elements in their original as well as inverted forms of the canon itself.

The fugue in three voices is what is commonly referred to as a 'simple fugue' - it features the theme in various keys and transpositions  but lacks contrapuntal gimmicks such as stretti or inversions etc.
The whole fugue was written entirely on staff paper without double checking with the piano or the computer in the process - thus relying fully on experience, theory and the inner ear. 
The composer feels he is on track!

Prelude And Fugue In G#m, Op. 25

The Cello duo came into being as a commissoned work. The composer was given complete freedom what genre, tempo, style, mood or tonality was concerned.
For lack of a better idea, the composer found the main theme in the clients first three letters of his name. Subsequently, the entire melodic structure of the composition derives its essence from those three notes.
After the ouverture sets the mood and makes use of double stops to achieve a more orchestral flavour, the work continues with an extended canon written in double counterpoint at the tenth to continuously make use of double stops.
The faster middle section consists of the same interval combinations as the main theme - but this time in quasi 12-tone serialism. The theme and counter theme are heard in inversion, retrograde and retrograde inversion to create a sense of unease and tension.
The piece concludes with a recapitulation of the ouverture including variations.

Cello Duo, Op. 26

The Sonata for Violin and Piano features two main themes with the second theme being a variation of the first theme. Both of those ideas experience extensive developement after the exposition of the sonata.

Sonata For Violin And Piano, Op. 27

String Quartet no 2, Op 28, 1st movement

Crossroads

'I'm standing at the crossroads
And there are many roads to take

One road leads to paradise
One road leads to pain
One road leads to freedom
But they all look the same.'

Calvin Russel

String Quartet No 2, Op 28, 2nd Mvmt

The third movement of Op 28 depicts the journey through early to mid-adulthood.
The soul, our protagonist, chose wisely from the various roads on offer at the crossroads of life in the second movement.
The fairly fast tempo combined with largely major tonalities and a somewhat heroic second theme suggest a rather joyful existence filled with hope, grand plans and a still youthful carefreeness.
The violin solo in the middle section of the work portrays freedom and individuality of thought and action. Life is good - the soul rejoices!
But - behold! The coda!

Chruseli

Popular tracks