C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Parkin, Michael: Monsieur Croche’s Fugue 



Basic information

  • Title: 
    Monsieur Croche’s Fugue
  • Composer: 
  • Duration (in minutes): 
  • Year of composition: 
  • First performance (year): 
  • First performance (venue): 
    York Late Music concert series.
  • First performance (performers): 
    James Willshire
  • Genre: 
  • Keywords: 


  • Program notes: 

    Monsieur Croche’s Fugue was commissioned for a concert in the York Late Music series entitled ‘Ten New Debussy’s’. The brief was simple; each composer had to write a short work for piano beginning with a few bars of Debussy.
    Monsieur Croche is Debussy’s argumentative alter ego in his loose collection of writings published posthumously in 1921. My piece begins with the opening bars of his Etude No. 9 (Pour Les Notes Répétées). The Etudes were written at a time (1915) when the composer was fighting a Kultur war as bitter and protracted as the war in the trenches.
    “I won’t get on the subject of German barbarity… I think we are going to pay dearly for the right not to love the art of Richard Wagner and Schoenberg.”
    The Etudes are as much studies in composition as they are exercises in keyboard technique. So why did Debussy choose a light and playful ragtime to explore Schoenberg’s atonality? The opening eight bars of No. 9 are strikingly similar to a serial ‘tone row.’ Germanic rigour meets black American spontaneity amidst a hail of repeated notes fired off as if from a machine gun? And I’m not sure whether Monsieur Croche would approve of fugues!




Total number of musicians: 



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