You must feel very good about this and getting some vital time with an orchestra. Even though the recording was adhoc, the players were in tune! And that's always the best you can hope for especially when there is little time for rehearsal. I read much more Spanish than I can say or write, but I read your biography very carefully and was impressed by the many various disciplines that you manage. I hope that you keep writing music and sharing it with us. a tu salud.
LOL, indeed we were sitting right behind the brass section, facing the conductor. The recording was made with a cell phone (the "official" recording of the rehearsal session is not available yet - but I'll share it when it is, if possible).
Nevertheless, this obviously means a lot to me - it's only the second time I manage to hear an orchestral piece actually executed, and I don't think I've ever been this close to have one chosen for a premiere (especially considering that, as an amateur outsider, I have a tougher time being taken seriously by the professional musicians down here).
Thanks for your comments!
The mixing could have used a bit of work... I felt like I was actually sitting right in front of the brass section
But this piece is cool. The "slower" section had really unique chord changes and was interestingly grandiose, but not in your face; I quite enjoyed it.
Your engraving makes no sense. Sorry, but I just don't get it.
m.1: C-flat and C natural shouldn't really be in the same measure so fast. Seems like you're in F mixolydian, so a B-natural would work just fine.
m. 2: Eighth note C in the bass tied to a dotted quarter C in the bass. Unnecessary, especially since you're in 4/4 and not 8/8.
m. 1-8: Is there a reason why the soprano has slurs, but your alto doesn't?
m. 17: What is going on in the alto voice? It's unnecessarily difficult, not slurred, and doesn't fit in the character of the piece, look for technical glitches.
m. 18: Beat 4... note? I recognize this could be a technical glitch, but again; hard and unnecessary.
m. 29-33: Either the entire quartet is rubato or none of it is.
m. 30: No need for the ties, and the subdivision markings are weird. 3 hashes normally means tremolo, and especially here since 32nd's would pretty much sound like it.
m. 37: Are they now pizzing? You need to mark that.
m. 40: Having the triplet in rests is not necessary, and there are too many eighth note rests in the alto.
m. 45-48: More hard rhythms.
Look, I know that was a harsh review, but some of these are very conceptual things that should be hashed about before embarking on that kind of a piece. I mean it sounds fine enough (other than the hard alto passages), but needs work to sound and look a lot more coherent.