12 Preludes and Fugues, Vol.1 (Preview)

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12 Preludes and Fugues, Volume 1 (PE201), by David Borden (2016) for Piano © David Borden 2016 Published exclusively by Promethean Editions Limited First edition © 2018 Promethean Editions Limited Series Editor: Ross Hendy Editor: Thomas Liggett ISBN: 978-1-77660-921-5 (print) ISBN: 978-1-77660-201-8 (digital) ISMN: 979-0-67452-274-8 Promethean Editions Limited PO Box 10-143 Wellington NEW ZEALAND http://www.prometheaneditions.com No part of this publication may be reproduced in any form or by any means without permission in writing from the Publisher. PE201 – ii
David Borden (1938) David Borden is a pioneer in the field of electroacoustic music. Borden perceives an almost spiritual dimension in the great works of contrapuntal writing, but found his efforts to unlock the secrets of their success were insufficient when studying advanced counterpoint theory—it never offered an answer as to why great contrapuntal writing affected him so deeply. For this reason he believes music theory is actually description rather than theory— one cannot predict whether a work will become more than the sum of its parts based purely on its adherence to the rules of counterpoint. ”They (music conservatories) expect that you’ll know how the music works once you study the details of various structures and forms, but I’ve come to the conclusion that no one knows what makes music work. You have to study and learn as much as you can and then follow your own instincts.” As a child, Borden was drawn to music that was comprised of multiple lines as opposed to melody-with-accompaniment. Borden’s father sought out music lessons for his son, and in the process it was revealed that Borden possessed perfect pitch—the gift that fuelled his interest in counterpoint. Curiously, Borden’s natural tendency to focus purely on individual notes inhibits his ability to identify functional harmony. “When I took harmonic dictation at Eastman the teacher would play a Bach chorale four times and we had to write it down. I would just write the soprano line first, the alto line second, the tenor line third, and then I would figure out the functions intellectually. It has made it very difficult for me to do jam sessions!” The art of counterpoint has dominated Borden’s work ever since, with the composer acknowledging his Harvard teacher Leon Kirchner for encouraging him in following his own stylistic direction. “He was very influential in a strange kind of way. He wasn’t that methodical or formulaic but he drew you out to find your own voice and that was very important.” Borden also cites his experience of being composer-pianist for dance at Cornell University as a major influence on his approach to music. Upon taking up the position PE201 – iii
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12 Preludes and Fugues, Vol.1 (Preview)

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