(KEEPSAKE) M.Wiktor

This one took everything I had to finish. I hope you enjoy it.
I will be "tweaking" this for another week while cleaning the scoreand preparing it for publication on Lulu.com

Will also add some program notes soon ...
I welcome all comments.



DL@
http://www.miserymadebeautiful.com/music/keepsake.mp3



instrumentation:
piano
flute, b-flat clarinet, bassoon, oboe
trumpet, horn, trombone
timpani,
violins, viola, cello, & bass

copyright © studio III 2008


Using:
The Garritan Orchestral Strings
Giga Piano
Westgate Studios Woodwind Collection
Bigga Orchestral Brass
DS Soundware Orchestral Percussion Library
TASCAM GIGASTUDIO

Michael



I have been waiting for this one for quite a while and I am not diappointed.



Although this is still very tonally centered, in some spots you take more chances then usual and I really like that side. Instead of letting the music go where everyone expects, you have a little jaunt into the darker side.



The rendering is great. Just the right amounts of reverb and dry/wet.



I am starting to get very busy in school in again, so PM me when you are done tweaking so I can hear the final version.



Don't make us wait so long for the next one.



Well done

Ron

As you have said, it is still sincere, just easier on the brain.

Thanks for the review Ron - and I'll talk to you more soon, BUT I get the feeling I have read your post before?!

Michael

What were you going for with this piece? I am curious as to your intentions.

I had a hard time picking out any kind of thematic material, I don't know if you wanted this or not (or I just missed it).

I mean the piece definently felt very cohesive, but I kind of missed a strong theme. Other than that I will echo what Ron said, it had some spice in the harmony that was very well done, and I really liked your instrumentation.

Hey Chris,

Thank you very much for the listen and remark!

As for the themes, they are there. The first line of the strings at the beginning state one major theme. There is also rhythmic themes that circulate each orchestral section.

I also repeat and vary section themes, themes that last about 4 to 8 measures.

Again, thank you for taking the time - it is much appreciated!

Michael

This is gorgeous (both the music and the synthesised recording).

Probably the element I enjoyed the most was the structure. I can't seem to pin down exactly what you did, but it does sound ever so "complete". Possibly it's a very global thing in that a lot of the music sounds whimsical, almost improvisational, yet the piano appears to cadence at the end.

Speaking of which, is this supposed to be a piano concerto? It struck me as a very central instrument in the ensemble. Then again, it can be hard for pianos to melt into orchestras.

Another question: is this to be part of a multi-movement work? The piece sounded to me quite like an opener for one.

Hey Mike,

Thanks for the listen and kind review.

Probably the element I enjoyed the most was the structure. I can't seem to pin down exactly what you did, but it does sound ever so "complete".

Thank you very much ... I like to be a bit ambiguous about the architecture - also with themes. The score, however, will reveal a bit more.

Possibly it's a very global thing in that a lot of the music sounds whimsical, almost improvisational, yet the piano appears to cadence at the end.

Well, not a lot of improv - just an instinct on where to travel next. As far as the cadencing - I do like to polish up on standard practice theory when possible.

Speaking of which, is this supposed to be a piano concerto? It struck me as a very central instrument in the ensemble. Then again, it can be hard for pianos to melt into orchestras.

Not really - no - not a concerto. I'm not a big fan of soloing instruments. I tried to vary the importance of the piano from main instrument to just background support - or not paying at all.

Another question: is this to be part of a multi-movement work? The piece sounded to me quite like an opener for one

Well, it is apart of the Misery Made Beautiful Vol. 1 which I would like to be performed as a suite - but it could stand on it's own if needed.


Thanks again for the listen and the very interesting questions.

Michael

Michael,

you are truly one of my favorites on this site, and its a shame you dont get the recognition here that you deserve. this piece amazes me in an emotional aspect, as well as a respect for your powerful talent. you always bring so many different colors in your work, and i think this one is one of your finest. i really cant comment on the technical side, as your knowledge is much greater then my own, but as a listener and a fan, i just want to say that this piece has touched me and i strive to speak music as good as you do. thanks for sharing this wonderful work!

vince

Originally Posted by thatguy

Michael,

you are truly one of my favorites on this site, and its a shame you don't get the recognition here that you deserve. this piece amazes me in an emotional aspect, as well as a respect for your powerful talent. you always bring so many different colors in your work, and i think this one is one of your finest. i really cant comment on the technical side, as your knowledge is much greater then my own, but as a listener and a fan, i just want to say that this piece has touched me and i strive to speak music as good as you do. thanks for sharing this wonderful work!

vince

Thank you so much Vince! I am honestly not too worried about recognition but desire exposure more than anything else.

I am happy that this work emotional had a bit of impact on you. All my works have a central theme under the title Misery Made Beautiful.

I always try to work outside my own box - rethink my thinking. My first instinct, if repetitive compared to my older works, is the "same old thing" - I challenge myself to write differently - as much as possible. It doesn't always work.

Again, thank you for your very kind works - very inspiring - and I'm looking forward to your next work. Please keep me updated.

Michael

The introduction theme is so Michael A.Wiktorish!

Like many other Wiktorian compositions... the preludic theme will recur again

This time Michael is giving us the pleasure to hear a piano Concertante in the middle of all the transitions of this orchestral Kaleidoscoope... it's not a piano concerto that maybe some of you might think... no! After the piano has improvised for us like if it was a temporary intermezzo, the player carefully goes back to sit far back in the last row of the orchestra!

This is a kaleidoscope of orchestral colours painted by a true cosmopolitonian artist!

And his name is MICHAEL A.WIKTOR