This work was written in Caracas in 2008/9. It was meant to be quirky and Modernist, while still tonal and recognizable as a fugue. Techniques used include retrograde, augmentation, diminution, a “tape slowing effect” (downwards modulation + ritardando), trills, stretto, metric games and polyrhythmic devices.
The recording itself is pitched to A= 435, and utilizes EastWest’s Composers Collection harpsichord samples.
I nicknamed it “Car Fugue” because I enjoyed listening to it while driving.