I'm planning on recording "VIII. Fuga III [Dux Primus]", "VIII. Fuga III [Dux Alter]", and "III. Fuga I" all at the same time, hopefully. From my exposure of analyzing all the fugues of Opus Clavicembalisticum and doing some multi-track synchronization of some of the fugues of "IX. Fuga IV", I'm going to claim that the most enjoyable fugue to listen to and play is "VIII. Fuga III [Dux Primus]", followed by "VIII. Fuga III [Dux Alter]", followed by "IX. Fuga IV [Dux Quartus]", followed by "IX. Fuga IV [Dux Primus]", and so on. I mean, the first subject of "VIII. Fuga III" is already so interesting, quirky, and sarcastic, but then introduce the second subject which is equally interesting (fine, slightly less), quirky, and sarcastic, and also do a coherent double fugue with them? Just SO satisfying to play the opening to "VIII. Fuga III [Dux Alter]". They interact almost like human voices in a graceful way (if one knows how to play it such), and the trade-off of volatile intervals between the two subjects is written so well. Sorabji was truly a genius of unparalleled proportion and I'm excited to uncover more of such. [0:00] previously [0:55] now [2:55] next Then, there's just the immense satisfaction of being able to handle and give justice to all the concurrent voices simultaneously. Extraordinarily difficult, though it might not look so (because I make it look easy). People need to remember that difficulty, at this level, arises from cognitive complexity as a result of information density. The information density of the fugues (from the notes alone, there are other factors as well) is extremely high, much more than that of "VII. Cadenza I", "X. Cadenza II", or "IX. Interludium B [Toccata]" (all of which I've recorded). It *necessarily* requires all fugal elements to be effectively utilized and heard to propel the music forward. That's why John Ogdon's and Geoffrey Madge's recordings, where they fail to bring out 50+% of the fugal elements, also fails to capture any of the music's character which is the necessary driving force. Their performances make for something barely listenable or even tolerable at points. And I have a ton more to say about that, but I'm not going to say it in a video description. Though, that being said, I even struggle trying to maintain so much information in my head. Every moment of the fugues is like more dense in fugal elements than the climax stretto of most other fugues in existence. There should be competitions someday dedicated to who can bring them out the most clearly, because it's worth it. Truly groundbreaking and bleeding-edge stuff I'm working on here. The potential is enormous. Lastly, because 2:03 is one of the densest strettos of all the fugues, I might do a multi-track synchronization of that instead to make it clearer, despite it being possible to play. [DISCLAIMER] If you're unfamiliar with this style of music, it is suggested that you go through the description of this previous video for the necessary background: https://youtu.be/CjZe5I2dJKc. All movements from Opus Clavicembalisticum I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODCfwXtlHvJ3-fZSYVOf5MMR All works by Sorabji I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME At time of recording, Eric is a full-time software engineer working in Big Tech, graduated from the University of Waterloo, Computer Science major. @musicforever60_official on IG: https://www.instagram.com/musicforever60_official/ #piano #music #romantic ... https://www.youtube.com/watch?v=9zGgun5vjWY