Here are some samples for the "Art of the Fugue" recital program that features drawings by M.C. Escher. Those pieces that have been arranged for various ensembles are noted as such. 

Prelude and Fugue in B-flat Minor by J.S. Bach (arranged for clarinet choir)

The descending scale in the fugue subject and how it recurs throughout the piece provide an analogy to Escher's Ascending and Descending.

 

 I like to feature both the Prelude and Fugue in A Minor by Shostakovich because it is so reminiscent of Bach, specifically his Prelude and Fugue in C Minor from WTC I.

Saygun uses the 'Hüzzam tetrachord' for the opening of his fugue subject here - the pitches B, C, D, E-flat. The chromatic nature of the makam and Saygun's subject give this etude a mournful, dolorous sound. It also has a 'creepy, crawly' sound to my ears and it is easy to draw a comparison between it and Escher's Reptiles.

 

Excerpts from two new additions to the program! Although not strict fugues they both demonstrate aspects of imitative polyphony - inversion and diminution / augmentation in the case of Hope's "Kenosis," and the less strict form of Fughetta (using a jazz theme!) in the case of Gianopoulous.

 

I haven't yet included this Prelude and Fugue by Shostakovich on the "Art of the Fugue" program, but I post the samples for those interested in the woodwind trio arrangements of both pieces.

 

Listen to Kathryn!