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Hi Nikolas, thanks for looking. You have actually seen some of my work before! Remember hexachords?
I guess you're right to an extent about the 'improvised' rhythm (the falling chromatic part), I think the main reason I left it like that was to leave some room for interpretation - depending on what the violist was doing with the cadenza at that point. In the recording I think Marine took it quite quickly, and aggressively at that point. Anyway I think that now I would have come up with a different solution to the problem.
I hope you don't think it's too un-individual, the main comment I've had back so far elsewhere is that the harmonic language in particular is quite personal - but I'd be very interested to know what you think.
Spelling, you're probably right also about that E-sharp, although it's actually approached from a C-sharp, which in tonal terms is probably easier to play (e-sharp c-sharp d-sharp) (as if it were in C-sharp major).
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