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I think that (though this piece is at times unplayable save for Liszt) you do show signs of having some potential at writing for the piano. Reminiscent though the concerto no doubt is of Rach, it was at times rather enjoyable. Nevertheless, it certainly did have its awkward moments, for instance, the piano arpeggios from 13:45-13:55 were so simplistic that they killed the moment. Also, you use a certain set of keyboard rolls throughout the piece first heard at like 6:45 that bear the classic "difficult for the sake of being difficult" mark (as I think was said above). Also, the exposition, development, and recap sections are blurred together so much as to be indistinguishable from one another, such that the piece sounded as though it was a long exposition with traces of development here and there, lots of solos, then a coda. Composers that can execute a blend of the three parts deftly are indeed skilled, but until you have reached that level, using a clear form is usually easier.
On a purely stylistic note, the last note of the piece, the G; I think it would sound even better if you gave the piccolo and flute a high G to contrast the low ones.
~Sapphire
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Quote:
Originally Posted by Jean-Auguste-Dominique Ingres
Whoever studies music, let his daily bread be Haydn. Haydn the great musician, the first who created everything, discovered everything, taught everything to the rest!
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