Maurizio Tessitore - Fuga per Quartetto di Ottoni

Описание: This fugue written on theme by Th. Dubois was born for saxophone quartet and was transcribed for trumpet, two horns and trombone.

The following work starts from the awareness of the importance that the knowledge of the musical forms "consolidated" by history and used in learning environments as a testing ground for technical and expressive abilities even before artistic ones, still plays a substantial role in the education of the music student projected towards the study of Composition and Instrumentation.
The management of contrapuntal techniques contributes not only to the maturation of the musician in having increasingly refined analysis tools, for both compositional and interpretative purposes, but above all it favors the development of an elastic mindset, capable of orienting itself in the most varied musical forms and consolidates the mastery of the stylistic elements necessary to be able to extricate oneself in the various languages ​​offered by the vast musical repertoire.
The fugue for four voices proposed here, composed specifically for students of Composition and Instrumentation for Band, aims to provide the student with an example (and not a model), both analytical - compositional and didactic - instrumental. In fact, it respects the "scholastic" model, proposed in the academic study at the Conservatories and the typical vocal character of the style. Nevertheless, it is presented under an instrumental guise, in the transposition for clarinet quartet, in order to project the student, already imbued with basic compositional knowledge, towards the instrumental possibilities offered by specific groups of wind instruments, whose chorality leads naturally and gradually, towards the instrumentation for the musical band, which lives precisely on the coordinated interaction of instrumental families of woodwinds, brass and percussion.
Some indications of an analytical nature, presented contextually during the score, will help the student to orient himself in the form (Exposition, Counter-Exposure, Divertimenti, Stretti, etc.) and in the recognition of the "themes and constructive fragments" (Subject, Response, Counter-Subject, etc.), as well as to guide him through the main tonal centers used.
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