The resulting piece, called Praeludium and Fugue Fantasies, was premiered on November 22, 2013, in Rio de Janeiro, and had a good reception by the public.

It starts with an Allegro Impetuoso. A fiery.fast tempo, a melody based on a motif constructed upon the intervals of a fourth, a descending semitone and a third. The piano functions as accompanist, the sixteenth-notes are the pulsating force that carries the entire building of an extroverted, fast paced introduction.

It is followed by an Adagio molto, a  Fugue that is partially variated from the original “Mordents”, which belongs to my “Quaderno per Daniel”, a set of études for developing skills in transposition. In the trio, the piano takes again a role of accompanist, whereas viola and oboe take the first fugue-fantasy. The title for the étude refers to both subject and countersubject, that are build with mordents. The subject is exposed in its original form departing from an initial Bb. Then all the following expositions appear a 4th above the last one. The ninth time (E natural) brings a fermata, and functions as pivotal  chord.

An interlude (Lento dolcissimo) at measure 86 departs from a new motif that refers to a known melodic idea used by Gustav Mahler: a descending segment of a scale, with individual crescendos and decrescendos,  accompanied by the arpeggios with mordents on the piano. The ghost of Mahler seems to observe the piece.

The following section is named “Largo soave”, at measure 102. This fantasy of a fugue employs a different novelty on the traditional scheme. The first exposition of the subject starts on C. Then the even appearances are transposed at consecutive upper fifths (G-D-A-E-B…) whereas the odd numbered expositions come at consecutive descending fifths (F-Bb-Eb-Ab-Db-). In either order, the following transposition would be Gb or F#. Thus the latter becomes the last period in the fugue-fantasy, leading to a coda.

The Coda at measure 152 starts with a C tonic, a segment of the dolcissimo played by the oboe, the viola playing a slight variation of the initial subject, and the mordents played in the piano accompaniment, leading to a final C.

Premiered with the composer as pianist at the RioWinds Festival in Rio de Janeiro on November 22, 2013 at the University Federal de Rio de Janeiro, and also performed at the Museo de Arte Moderna, Rio de Janeiro.