ludus ragalis - clarence barlo · ludus ragalis notes the music of this piece is mainly based both...

30
Ludus Ragalis (1974-2006) 13 Präludien und Fugen für Klavier oder anderes Tasteninstrument FB 0369

Upload: others

Post on 20-Jul-2020

4 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

Ludus Ragalis (1974-2006)

13 Präludien und Fugen

für Klavier oder anderes

Tasteninstrument

FB 0369

Page 2: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

Clarentius Barlovicus

Ludus Ragalis (1974-2006)

13 preludes and fugues

for piano or other keyboard

instrument

Feedback Studio Verlag Cologne FB 0369

Page 3: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

Ludus Ragalis

Notes

The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns of classical North Indian raags, the names of which are given at the top of each left-hand page of the score – the very approximate, here sufficiently accurate pronunciation scheme used:

Consonants: [C]→chew, [Đđ]→though, [Jj]→Joe, [š]→show, [Ŧ]→thaw, other consonants being more or less as in general English spelling.

Vowels: [áéíó]→bar, Fr.bébé, bee, Fr.beau, [ò]→bore, all else short and unstressed.

In accordance e.g. with Baroque practice, no phrasing or dynamics (apart from a few accent and stress marks) have been given; these are to be executed as in historical European music.

The letter t indicates appearances of the fugal theme (after the usual initial three – as subject, answer and subject).

The numerical code given under the word “Præludium” indicates the preludes’ formal scheme, e.g. 3.2.3.4.2 (cf. p.4) means the piece is in 3 sections, each holding 2 fragments of 3 segments (here bars) each, these in turn containing 4 beats of 2 pulses each. Barlines can occur between fragments or between segments.

The numbers at the end of each prelude and each fugue indicate the date(s) of composition, e.g. 19750113/4/60121/2/825/910/1104/5 (cf. p.16) = 13-14 January 1975, 21-22 January 1976, followed by 25 August, 10 September and 4-5 November of the same year.

The title, a reference to Hindemith’s Ludus Tonalis, means “a play of raags”.

FB 0369

Alle Rechte vorbehalten! Copyright 2003 by Johannes Fritsch, Rolf Gehlhaar & Co.,

Feedback Studio Verlag Genter Straße 23, 50672 Köln (Germany)

Tel +49 221 527763 Fax +49 221 5104139

http://genterstr.hypermart.net/feedback.html

Page 4: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

1

C. Barlovicus

Page 5: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

I. Fas-Ŧilakkámóđe=144

19750305/27

1

Præludium 2.3.4.3.2

3

5

1 q=144

Fuga

6

9

2

Page 6: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030322/801/2

13

17

t

20

24

29

t

3

Page 7: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

q=144

19750327/8

1

II. Sin-Bihág

Præludium 3.2.3.4.2

5

9

13

16

1 q=144

Fuga

6

4

Page 8: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030803/4

11

16

20

25

t

29

t

t

5

Page 9: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

e.=96

III. Min-Yamankalyán

19750122/3/840525

1

Præludium 2.3.2.4.3

4

7

10

1 q=144

Fuga

5

10

6

Page 10: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030805

14

t

18

t

t

22

26

t

30

t

7

Page 11: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

h=72

IV. Lan-Gòrsárang

19750304

1

Praeludium 3.2.2.3.4

3

5

8

10

1 q=144

Fuga

5

8

Page 12: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030806/7

9

t

t

13

17

21

t

t

25

29

9

Page 13: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

h=72

19750115

1

V. Ren-Hamír

Præludium 2.3.3.2.4 5

9

13

16

1 q=144

Fuga

6

10

Page 14: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

10

19750124/61226/7/8/9/770108/9/10/1

t

15

t

19

23

t

t

29

t

11

Page 15: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

q.=96

19741229

VI. SolN-Kéđár1

Præludium

3.2.4.2.3

7

13

19

1 q=144

Fuga

6

10

12

Page 16: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

19741225/6/7/8

14

t

t

t

18

22

t

26

t

t

30

t

13

Page 17: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

q=144

19740800/50109

1

VII. UtN-Kámóđ

Præludium

3.2.4.3.2

5

10

15

20

1 q=144

Fuga

6

14

Page 18: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

19740525/6/761009

11

t

15

18

t

21

t

24

t

27

t

30

15

Page 19: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

h=72

19750113/4/60121/2/825/910/1104/5

1

VIII. Fan-Cháyanat

Præludium 2.3.3.4.2

5

10

14

1 q=144

Fuga

6

10

t

16

Page 20: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

13

19750114/60910/1105/6/7/10/1

t

t

17

t

21

t

t

t

25

t

t

t

t

29

17

Page 21: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

q.=96

19780206/7/303/4/5/20/2/6

1

IX. Sib-Jhinjhóti

Præludium 3.2.2.4.3

3

6

9

11

1 q=144

Fuga

6

18

Page 22: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030808

11

t

15

t

t

20

25

t

30

19

Page 23: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

h=72

19840525/6/7

X. Mib-Khamáj1

Præludium 2.3.2.3.4

4

7

10

1 q=144

Fuga

6

10

20

Page 24: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

13

20030808/9

16

19

t

23

26

30

t

21

Page 25: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

h=72

19760822/4/5/840708

1

XI. Lab-Ðéš

Præludium 3.2.3.2.4

6

11

15

1 q=144

Fuga

5

9

22

Page 26: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

20030809/10/1

13

17

21

t

t

t

25

29

33

23

Page 27: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

q.=96

19750328/60822

XII. Reb-Bilával1

Præludium 2.3.4.2.3 6

11

16

20

1 q=144

Fuga

6

24

Page 28: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

10

20030811/2

14

18

22

t

26

30

25

Page 29: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

=144

XIII. Solb-Gòrmalhár

Præludium3.4.2.3.2

4

poco meno mosso

7

accel.- - - - - - - - tempo primo

10

20060211/2/3/4/7/309

=144

Fuga

6

26

Page 30: Ludus Ragalis - Clarence Barlo · Ludus Ragalis Notes The music of this piece is mainly based both on classical European counterpoint and in no less measure on the melodic patterns

11

16

t

t

20

t

t

t

t

24

t

t

t

t

28

t molto rit. - - - - -

t

31

- - - - - a mezzo tempo

20060217/18/19/20/309

27