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Below are my Rulings and Analyses.
YOUNG COMPOSERS MUSIC FORUM
NICK
GRADE 6/10
Theme (Bar 1-14) (00.00 00.30)
’ Harmonically unstable.
’ Not a great choice in terms of thematic material which inturn leads to weak Variation writing.
’ The harmonic instability of the theme suggests that the variations will tend to lean on the rhythmic side rather than melodic or harmonic or to completely oppose this, given the idiom, a skilled composer can use this harmonic instability to indeed produce startling variations.
Variation 1 (00:30 1:02)
’ Repetition of the harmonic progression from the theme with long-noted syncopations using the same bass notes as the theme.
’ Last Bar of this Variation: A C# Major chord yet an E as a Bass Note??
Variation 2 (1:03 1:51)
’ This Variation is what I personally call marking the beat.
’ The L.H is still using the same bass line as the theme in a slight expansion of the Bass line from Variation 1.
’ Some effort made to produce a harmonic variation here.
’ The thing that stops me from calling this a Variation is that A Variation, at any given point must correspond to the theme.
’ Even without further examination, the factors that give it away are the irregular length, which here cannot stem from tempo or augmentation of the thematic rhythm as in a fugue, this Variation is twice as long as your theme.
Variation 3 (1:52 2:21)
’ 5th Bar, D Major Chord yet an F as the base note??
’ Some very interesting things attempted here, both harmonically & rhythmically, unfortunately ends up sounding pop infused despite clever harmonic strides.
’ Once again, unusual length, both in terms of bars and time, in respect to the theme.
Variation 4 (2:22 2:50)
’ And again Very harmonically unstable, yet of great rythmic interest.
’ This would have to be the strongest Variation given the chosen idiom, and given the themes limited extent in terms of possible variations.
Variation 5 (2:50 3:14)
’ At first expanding on the Harmony from Variation 4, towards the end starts to get syncopated hinting at a Jazz influence.
’ Not a particularly strong Variation.
Variation 6 (3:15 3:29)
’ In a more compressed manner, this variation does in some way, correspond to and develop the thematic material, yet once again of irregular length.
’ Bar 8 of Variation 6 Ab Major Chord, Yet a G as the bass note.
Remainder (3:30 4:42)
’ I have titled this so because these are mere repetitions of Variations 4,5 & 6 with an altered ending.
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YOUNG COMPOSERS MUSIC FORUM
MARIUS
GRADE 10/10
It is rather hard to psycho-analyse a perfect ten.
But some general pointers, tips and commendations are in order.
’ Well-constructed theme in keeping with the Haydn Beethoven Brahms Variation form. Where by there are 2 parts to a theme, the second part ending by closing in the tonic with a reduction of the first part of the theme. Well done. I dont suppose you saw my Critique (1.3 months ago) in Mahlons Piano Page in the Piano Section regarding Variation writing?
’ Very Virtuosic Indeed. Your writing is so similar to mine and of such a high standard that I would gladly recommend you to (not my publisher) a publisher.
’ A great sense of craft in that your Variations, where you choose to, flow directly into each other flawlessly, even though your theme makes a full close.
’ Only reality is that the Finale/Finale Variation is not realistic on its demands on any pianist, and who better to tell you that than I.
’ Showing a great familiarity with mid late romantic composers such as Liszt & Alkan. Infact, your theme is not very harmonically different from Alkans Etude Op.38 No.12 Le Festin d'Γsope but it is understandable that great music finds its way back to us!!
Bravo !!
Akhil G.
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"Nothing is more intolerable than to have to admit to yourself your own errors"
Ludwig Van Beethoven
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