12 Preludes and Fugues by David Borden

P R O M E T H E A N

E D I T I O N S

Davi d Borden 12 Preludes and Fugues Volume 1 Piano

PE201 – 34

Davi d Borden 12 Preludes and Fugues Volume 1 Piano

P R OME THEAN EDIT IO NS WELLINGTON

12 Preludes and Fugues, Volume 1 (PE201), by David Borden (2016) for Piano  © David Borden 2016 Published exclusively by Promethean Editions Limited First edition © 2018 Promethean Editions Limited Series Editor: Ross Hendy Editor: Thomas Liggett ISBN: 978-1-77660-921-5 (print) ISBN: 978-1-77660-201-8 (digital) ISMN: 979-0-67452-274-8 Promethean Editions Limited PO Box 10-143 Wellington NEW ZEALAND http://www.prometheaneditions.com No part of this publication may be reproduced in any form or by any means without permission in writing from the Publisher.

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David Borden

(1938)

David Borden is a pioneer in the field of electroacoustic music. Borden perceives an almost spiritual dimension in the great works of contrapuntal writing, but found his efforts to unlock the secrets of their success were insufficient when studying advanced counterpoint theory—it never offered an answer as to why great contrapuntal writing affected him so deeply. For this reason he believes music theory is actually description rather than theory— one cannot predict whether a work will become more than the sum of its parts based purely on its adherence to the rules of counterpoint. ”They (music conservatories) expect that you’ll know how the music works once you study the details of various structures and forms, but I’ve come to the conclusion that no one knows what makes music work. You have to study and learn as much as you can and then follow your own instincts.”

As a child, Borden was drawn to music that was comprised of multiple lines as opposed to melody-with-accompaniment. Borden’s father sought out music lessons for his son, and in the process it was revealed that Borden possessed perfect pitch—the gift that fuelled his interest in counterpoint. Curiously, Borden’s natural tendency to focus purely on individual notes inhibits his ability to identify functional harmony. “When I took harmonic dictation at Eastman the teacher would play a Bach chorale four times and we had to write it down.

I would just write the soprano line first, the alto line second, the tenor line third, and then I would figure out the functions intellectually. It has made it very difficult for me to do jam sessions!”

The art of counterpoint has dominated Borden’s work ever since, with the composer acknowledging his Harvard teacher Leon Kirchner for encouraging him in following his own stylistic direction. “He was very influential in a strange kind of way. He wasn’t that methodical or formulaic but he drew you out to find your own voice and that was very important.” Borden also cites his experience of being composer-pianist for dance at Cornell University as a major influence on his approach to music. Upon taking up the position

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in 1968, Borden observed that while they were usually unfamiliar with its technical aspects, dancers were open to working with any type of music, no matter how strange. The receptiveness of the dancers in turn opened up Borden’s mind to his own music. He came to enjoy the work of composers such as Robert Ashley and became acquainted with John Cage through his accompaniment work with Cage’s partner, the dancer and choreographer Merce Cunningham.

As a teenager, Borden sought out composition lessons from jazz composer and arranger Jimmy Giuffre, of whom he was a fan. He also received lessons from jazz composer and arranger Jaki Byard. Borden studied at New York’s Eastman School of Music under Bernard Rogers and Howard Hanson. While at Eastman, he studied the music of Bach, Haydn and Stravinsky. He then undertook graduate studies at Harvard University under Leon Kirchner and Randall Thompson, and also studied at the Hochschule für Musik in Berlin on a Fulbright scholarship.

In 1969, with the support of Robert Moog, Borden founded the first synthesizer ensemble, Mother Mallard’s Portable Masterpiece Company, with which he performed his own works as well as music by Robert Ashley, John Cage, Terry Riley, Philip Glass, Steve Reich and others.

In 1970 Mother Mallard’s Portable Masterpiece Company began recording their self-titled debut album, which was released in 1973. Borden maintained an interest in the development of digital synthesizer technology, incorporating it into his music along with a range of acoustic woodwind instruments and voices. The group released a total of 13 albums, with their last album, Waterwheel, arriving in 2005. Much of Borden’s output is for keyboard-based ensemble, and as well as concert works he has composed music for dance and film, including part of the soundtrack for the 1973 horror film The Exorcist. His twelve-part cycle of works for synthesizers, acoustic instruments and voice, The Continuing Story of Counterpoint (1976– 1987), has been called “the Goldberg Variations of minimalism.”

In 1988 he founded the Digital Music Program (now the Cornell Electroacoustic Music Center), where among his specialty courses were MIDI techniques, counterpoint combined with electronic sequencing, and collaborative music composition using digital instruments.

He retired as senior lecturer in 2005.

Recordings of Borden’s music are available on the Cuneiform, New World Records, Lameduck and Arbiter labels.

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12 Preludes and Fugues (2016) David Borden’s 12 Preludes and Fugues is published in two volumes; Volume 1 (PE201) and Volume 2 (PE202).

Introduction When conservatories teach counterpoint it’s like painting by numbers—it doesn’t get you anywhere creatively. It might make someone understand the music of Handel or Bach or Palestrina but it doesn’t help them write their own. Teachers go into great detail about rules, especially about species counterpoint, and then you come away thinking “How did Palestrina ever do it without these books?” Fugues don’t need a lot of things—they’re very freeing.

People do them differently—Bach did them a lot differently from his predecessors and you can’t pin Bach down to any specific way of writing fugues.

After writing the exposition I don’t pay attention to what level the voices enter at or which closely related keys I’m supposed to go to. I just take it wherever I think it needs to go. I let the subject and countersubject dictate how long the piece is and what kind of shape it takes.

I don’t necessarily have a meter in mind; I just had to put one on the page because that’s the way people read. Unlike most preludes and fugues, here the preludes use the same subject, in some way, as the fugues do.

1

2

3

4

5

6

7

8

9

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z

The Pythagorean numerology alphabet The musical material of each of the preludes and fugues is initially derived from the letters of the name of the person to whom it is dedicated. The letters “A” through “G” are assigned those pitches, and in some cases, following the German convention, a lower-case “h” is assigned the

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pitch B, and an upper-case “B” is assigned BÏ. Using the Pythagorean numerology alphabet, the remaining letters in the name are matched to a number, and then these numbers are assigned to the pitches of a mode (“1” for the tonic, and so on) that best “fits” the name. Once a suitable mode is found, and each letter assigned its pitch, the rhythmic shape of the fugue subject is determined. These constraints always invoke your creative spirit—and since it’s for piano you don’t have timbre to draw on either.

Notes about Volume 1 This first volume is dedicated to my longtime friend, the composer, pianist and conductor Neely Bruce. I am indebted to him, as well as pianist Xak Bjerken, and multi-keyboardists David Yearsley and Blaise Bryski, for their insightful and helpful input. I also wish to thank Suzanne Polak for her recommendations during the editing of these works for publication.

Prelude and Fugue 1 (for Neely Bruce) I met Neely Bruce in 1961 when he entered the Eastman School of Music as a freshman. I was 22, he was 17. After one winter, he decided to go back to Alabama. But we kept in touch. His energy level is such that after I’m around him, I need to sit down and pour myself a glass of wine. He commissioned my piece Angels. We combined our ensembles, his vocal and mine electroacoustic, and we performed it at Lincoln Center, Wesleyan University and New Music America in Montreal. Neely has worked indefatigably to promote American music of all periods. I love this guy.

!

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Prelude and Fugue 2 (in memory of George Deem) George Deem (1932–2008) was a wonderful artist and a good friend of mine. His work evoked the masters of painting throughout history with an emphasis on Vermeer. His paintings collected in the book Art School were delightful parodies of painters and their “schools”. His work helped inspire my own pieces that use music of other composers, like K216.01 which uses Mozart’s Violin Concerto No.3 in G major.

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Prelude and Fugue 3 (for Alexei Aceto) Alexei Aceto is an up-and-coming pianist who is a freshman at Ithaca College as I write this. I have been friends with his father, Robert Aceto, for many years. Robert is a guitarist and composer who has worked with David Torn and members of Talking Heads, and he has supplied many soundtracks for independent films. Alexei was only 13 when I composed these pieces for him, but he learned and performed them with great finesse and musicianship.

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Prelude and Fugue 4 (for Gabe) I have performed music with my son Gabe since 1990. Among other things he is an accomplished guitar virtuoso and a father of four. He never misses a note. Or anything else.

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Prelude and Fugue 5 (for Rebecca) Rebecca is my wife. She has been an innovative teacher of English and History at Ithaca’s Alternative Community School. Rebecca has also been a performer in Celtic bands as a singer and performer on guitar, mandolin and penny whistle. She is now retired and makes art in a variety of mediums.

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Prelude and Fugue 6 (for Shep Shapiro) Composer Shep Shapiro is known professionally as Professor Emeritus of Music Gerald Shapiro of Brown University, where he taught for 47 years. I first met him in 1960 when he was a freshman at the Eastman School of Music. We have kept in touch over the years. These are jazz-influenced pieces. Shep has developed a late-life interest in learning jazz piano. It don’t mean a thing if it ain’t got that swing.

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David Borden

PE201 – viii

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PE201 – ix

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PE201 – x

12 Preludes and Fugues, VOLUME 1 TWelVe PreluDes & Fugues David Borden  David Borden PRELUDE & AND FUGUE 1 (FOR NEELY BRUCE) PreluDe Fugue no.1 [DeDICaTIOn] PRELUDE PreluDe

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12 Preludes and Fugues © 2016 David Borden This edition © 2018 Promethean Editions Limited

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PRELUDE AND FUGUE 2 (IN MEMORY OF GEORGE DEEM) PreluDe no. 2 PRELUDE David Borden

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PE201 ––99 PE201a

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AND3FUGUE 3 (FOR ALEXI ACETO) PreluDe PRELUDE David Borden

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PE201 PE201 – 17

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PE201 – 18 PE201 – 18

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PE201 PE201 –– 19 19

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Fugue no. 4 David Borden FUGUE

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T g B OO CC B B O

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PE201 –– 24 24 PE201

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XX .CC X C X .CC X CC X .CC X C X X X YC WC WC WC WC Y C X C. .

X C. X C. X C. X C.

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20

.

X X CCC

Y C.

.CC

Q

XC T C X X CC C C C CC . .

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PE201 – 28

PE201 – 28

28

XC C T C X X CC C C C C Y .CC Y .CC XC XC C. C.

.C X -.C .C CW C C .

W WX CCC

XC T C X X CC C C C CC C Y .CC Y .CC XC XC C. C.

.CC X Y -.CC .CC X X -.CC

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Y W .CC W # YY Y Y Y W C. X C X C.

24

g

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# YY Y C YY - XC YC - YY YY X X X C -.CC !

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41

45

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d

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.

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.

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,

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steady, but not mechanical

g

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AA

Q

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X C-

.

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C.

PE201 –– 29 29 PE201

Q

.

X XY CCC

.

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.

X XY CCC

Y C.

TWCXC B

.

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Y C-

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g

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X C-

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37

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Q

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28

33

.

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.

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S

Q Y C.

.

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Y C.

.

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Y Y .CC X CC W X .CC R . .

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Y ! Y YYY T X C

49

# YY Y Y Y C. Y ! Y YYY R

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Y C. S

53

# YY Y Y Y C.

Y .CC XC

C.

Y .C X C T XC XCWC S . .

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X .C S Y .CC XC Y -CC .CC R

Y .CC XC

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57

C.

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# YY Y Y Y C.

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Q

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65

70

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Y CC XC C. C.

C. -C

Y .CC XC C Y X C CC h Y .CC XC

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X C.

.

W WX CCC

PE201 –– 30 30 PE201

B

R

Y C.

.

X XY CCC

C.

CC X Y CC W X .CC

W WX CCC

.

XC C T C X X CC C C C C Y .CC Y .CC XC XC C. C. -.

C C CC h Y .CC XC

Q 30

Y C.

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Q

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Y .CC XC

Y .C X C T XC XC XC S . .

W WX CCC X XY CCC X C. Y C.

YC C C XC X .C S Y .CC Y .CC XC XC C. C.

-C

Y .CC XC

S

Y -CC .CC

X Y .CC W X CC X Y .CC R . .

W WX CCC X XY CCC X C. Y C.

X XY CCC

Y C.

>C

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X C.

YC T XC B

X C.

XC C T C X X CC C C C C Y .CC Y .CC Y XC XC C. C.

TYCYC B B W .CC X .CC W X XC YC # YY Y Y Y X C. Y C.

61

C CC YY YY T C X CC C Y C C !

Y Y .CC Y .CC # YY Y XC YY XC C. C.

Y .CC

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C.>

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R

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C .C S

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Q Q

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With a jazz feel (swing 8ths) Π= 150

Y XCYC C XC ! Y YYY 44 T C X C C f # YY Y 4 Q Y Y4

.

Y C YC C S R C YY YY Y C Y C C C C !

Y T C T hC .C X C Y C C C C XC # YY Y T C X C YY

5

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Y ! Y YYY S

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C XC X CC X CC CC S C C C . R ..

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R

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S

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PE201 PE201 –– 31 31

C.

#

X CC -.

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WC - .

.

S X C Y C YC XC XC

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.

XC WC C XC Q -C O W .C h

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W C X .C S

T XC XC C C R

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T C C C

Y -C C C X .C

PE201 – 32

32

-C O

W .C h

X C. -.C

C Y C. T C

g

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T XC YC YC XC XC C XC XC XC S R

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32

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# YY Y W C X C Y C X C S YY 25

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61

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XC

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Y YY CCC

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CC C

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X .C C C S YY .CC >.CC (X ) C C

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S

> -C X X .CC CC W W .CC CC Y C C X C S T g R C.>

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PE201 PE201 –– 33 33

CC

>.

C R

> -C X X .CC CC W W .CC CC C C X C

.C X C C C S

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h R X .CC WC

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.

C 3 C S 4 X CC .

C C T g CC W X CC XY CC C Y CC S X C W C X C . X CC CC W C W C . h C .C S R Q Q

CC

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T XC YC YC . >.

X X CCC Y CCC

>.C

.

YYX CCC

T YC C C YC YC >.C .C .C W W CC CC Y CC

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C YC TYCXC YC .C XX .CC Y >.CC X CC C C

T g YYY Y !

Y S T X C X C Y C Y C X X CC X CC Y CC YY C C YC C . h T g Q C S YC XC # YY Y X C Y C C Y YXC C CXC .

53

Y -C O

43

S Q

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C XC XC T C R h R

4 4 44

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