Fugues Op. 17 for Piano by David Tsvariani

Introduction: Allow me to share a few thoughts about my recent composition, Fugues Op. 17, for piano. Comprising four individual fugues that can be performed separately or as a complete suite, this work explores a range of tempos, keys, and thematic nuances. I've endeavored to create a modest collection that, when performed together, offers a glimpse into various emotional landscapes.

Fugue No. 1 in C Major (Allegro vivace): The journey begins with the lively "Allegro vivace" in C major, a modest 01:44 celebration of joy and energy. It is my hope that this piece, with its brisk tempo, serves as a lively opening to the collection, showcasing the pianist's skill and the intricate counterpoint I aimed to achieve.

Fugue No. 2 in B-flat Major (Andante): The second fugue, marked "Andante" with a duration of 02:25, introduces a contemplative mood in the key of B-flat major. In my modest attempt, this piece invites the listener to reflect and explore a more introspective side, providing a gentle contrast to the preceding fugue.

Fugue No. 3 in A Major (Adagio): With a deliberate pace of 02:57 and an "Adagio" tempo, the third fugue in A major emphasizes melody and expression. My humble intention was to create a serene and emotional landscape, allowing the listener to experience a deeper connection with the music.

Fugue No. 4 in D Major (Allegretto): The final fugue, an "Allegretto" in D major, lasts a mere 01:40. In a departure from convention, I introduced an Eastern or oriental scale, aiming to infuse the composition with a unique character. It is my modest hope that this unexpected touch adds a distinctive flavor to the overall work.

Program Notes: As I share Fugues Op. 17, I am mindful of the privilege of having my compositions interpreted by talented performers. My sincere aspiration was to create a humble collection that weaves together varied emotions and styles. The inclusion of a melodic third fugue and the exoticism of the fourth fugue seeks to expand the tonal palette modestly. I hope that, as a whole, this collection speaks with a quiet resonance, leaving room for interpretation and connection between the music, the performer, and the listener. With gratitude, David Tsvariani.