Five Hundred Seconds Of Music And Its Purpose for Chamber Orchestra

Woah! I am impressed ... scrap that I am in awe!

I have only listened to the recording - will check out the score at some point to understand certain parts.

I am interested to know what your university thinks of this if they have ever heard it and also what the long winded story and idea behind this piece is.

Thank you!

I like to be an open book. I know that you're interested in a Masters degree so here goes:

The story: There isn't anything in particular behind this thing, but it was written in 2002 (I came to the UK for my MMus in 2004, mind you). I had started counterpoint lessons, and of course had an interest in composition as well as 20th century techniques. At that time I wanted to go to France to study at the conservatoire superior de musique et de danse de Paris(!) (hellishly difficult to enter and I failed twice). One of the examination topics was orchestration to a large chamber ensemble, such as the one I used here. So I thought I should write something in order to practice.

One influence, for the middle (fast) part, is a theatrical group called "Hollandia", who have writen some excellent music for their acts!

Anyways, once it was done, I just decided that it was too good to let it be only on paper, so I went to a studio, stayed there 2-3 weeks and finished this whole thing. I was completely ignorant to samples back then...

Then I went into the army, composed "Obscene Obsession" (also posted in this forum) and went to record that as well. Those 2 pieces, along with a solo piano and a piano + prerecorded music were the 4 works I used for the entry requirements in the UK.

At first I tried Trinidy, Guildhall, RAM and a couple more. Trinidy and those 2 others just took me (for Bachelors), Guildhall I didn't actually show up at the exams and RAM didn't take me for Bachelors! A few months later I decided to apply for a MMus, straight away, without an undegraduate degree. At Manchester, Birmingham, Royal Holloway and King's college. Manchester said yes with no interview. Royal Holloway said yes with an interview (and went there, this is where I am now), King's College, after an interview said no and Birmingham said no straight away, since I didn't have an undergraduate degree (pretty fair if you ask me).

Because of the piano and the prerecorded music (continuity, also posed here) and the "Obscene Obsession", actually nobody even asked a single question about this piece! They simply didn't have enough time to look at it, or spend time in the interview, or whatever... I guess 4 works was 1 too many...

Thanks for the interest.

Nikolas,
I'm curious if the crescendo to nothing which ends the piece can be interpreted in light of the title of the work. "Five hundred seconds of music and ["then," perhaps?] its purpose." Am I perhaps right in thinking, therefore, that part of the piece's intent is to build anticipation and then rob the listener at the end, implying "there IS NO purpose?"
I'm not endeavoring to imply that there'd be anything right or wrong with such a goal; just wondering if my (admittedly surface, for I only listened to parts, as you suggested) evaluation might be somewhat correct.
Brooks

Nikolas,

This is really cool. I think its greatest aspect your piece's ability to really engulf the listener in sound, very atmospheric. It somehow reflects the fragmentation of postmodern thought, and yet manages to connect itself. That said, I feel like despite the amazing sense of direction the piece has...the slow beginning is not boring at all (despite that being a comment i'm familiar with ), there wasn't really a...well, a "point". Thematic material that I could discern was little or nothing, besides a few techniques. Perhaps you'll think its "not my place" to be criticizing you, but hopefully you can accept my opinion . Perhaps I'm overlooking something, but besides the cool sounds, the entire piece was built around...well, nothing. That was probably intentional, but it just bothers my ear. Purely atmospheric music is interesting, but I find it pointless, not to say the piece was, it was extraordinarily enjoyable, I can't stress that enough, but...phew, hopefully you understand what I'm saying.

Anyway, nice job

Nico

bpopw750: Oh man! Totally forgot about this! I know that I PMed you, but heck, forgot to make it public!

The "purpose", is the last few seconds, the last page. Somehow the timing of that theme (which appears 4 times) reaches the timing of the 4 different "movements" thus at last it can be Edeveloped" "properly" (for one single page) and then end the piece, with something which does appear new and was not used t othe developement of the score at all!

The theme first appears in bar 9, by the French Horn, then bar 27, F Hrn again, I have no idea where the 3rd instance is and the 4th is the last page, which is (at least) slighly orchestrated.

So the whole purpose of this piece is to make these 2 parts (theme and movements) find their way together...

Hope it makes a bit of sense...

Nicola: Since you explained your opinion very well, it certainly is your place. No worries man! Public means public. I wouldn't like someone coming and mentioning "it sucks" and nothing else, ala myspace, or deviant, but you took your time to listen, to read, and to post, so I'm thankful.

I will agree really really really with you. It is exactly that. For the first movement. It's slow, it's dead boring for me (nothing happening pretty much). When the fast part enteres, there is indeed a theme, and a countertheme, and a stretto later on... there is definately something going on there. And from there on there is melodic movement as well.

so it's a very unbalanced piece with 2/3rds of the piece being dead boring and undeveloped and the rest trying to give a bit of excuse of the first 2/3rds! Don't think it succeeds, but anyhow it was writen quite a few years ago, so it's ok I guess. My excuse!

Woah! That's a really cool piece! Very atmospheric and quite mysterious. I like it a lot.

However, I would have to disagree with you on development. While yes, it could have used quite a bit more, I could detect a couple of motifs running throughout the piece, mostly involving semitones and tones. For example, the horn motif in bar 9 did recur in various forms throughout the piece. I know it's not exactly brilliant development and there were a few ideas that kind of just stood there and didn't do anything, and I will agree that not a lot happened in the slow section, but I think you're being a little too hard on yourself.

Anyway, that's my two cents.

Oh thanks

Yes, I did try that, but still after a lot of year (remember this was composed quite a few years ago), I do reserve the right to feel bad (or maybe that I would change a few things).

But really, thanks

Repeating everyone, this is a great, mysterious and atmospheric piece. This is certainly my poison!

I followed it with the score and I enjoyed the effects you created.

I have to say I loved the beginning. It felt like something was lurking.

Furthermore, I hated the ending. It was too abrupt.

Cheers, Nikola!

Cheers, Nikola!

Is that like a combination of Nikolas' and my names or something?

Nope!

Manos is Greek and when you call somebody in Greek you take out the last s...

So Manos becomes "cheers Mano" and simmilarly Nikolas becomes "cheers nikola"