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- Submitted: Feb 13 2012 12:44 AM
- Last Updated: Feb 20 2012 04:14 PM
- File Size: 46.08MB
- Views: 1455
- Downloads: 551
- Genre: Contemporary
- Sub Genre: Neo-romanticism
- Form: Concerto
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Concerto for Viola and Orchestra
5 Votes
3
This is my most recently finished work. Incidentally, I also believe this to be my finest compositional achievement to date, and it certainly required more effort than any other piece I've written in the past (I began writing it in April of last year and finished it about a week ago).
The majority of the thematic and harmonic material (particularly in the first and third movements) is all derived from a single four note pitch class set (C, G, Ab, B) whose numerous permutations generate an immense amount of unique ideas throughout the work.
The first movement begins with a hazy Lento passage in which the primary motif (based on the aforementioned pitch set) of the work is introduced by the viola. The music builds to a dramatic "Maestoso" passage. The rest of the introduction maintains a dreamy atmosphere, until the section marked "More Lively," where the piece is quickly whipped up into a frenzy and then scarcely loses momentum from that point forward. The rest of the movement is fast, fantastical and very loosely structured. Here there are definitely some strong influences from composers such as Ravel, Szymanowski, and Sorabji.
After the movement relentlessly pushes forward, it hits its climax and plummets downward, ending with a very short reprise of some of the opening material. The second movement begins shortly thereafter. This movement, a theme and eleven variations, is the "core" of the work, so-to-speak. After introducing the theme, variation one begins, which is based on a two-note viola ostinato which has been described by my composition teacher as "obsessive." Variation two has a very sporadic, unpredictable quality. Variation three (marked "Pizzicato") exclusively uses pizzicato for both the soloist and the string section. Variation four gives the impression of a lop-sided waltz, alternating between 5/8 and 6/8 meters. Variation five ("Ritmico") is faster and, as implied my the marking, quite rhythmic. Variation six is based on fast orchestral arpeggios formed from polychords. Variation seven ("Sostenuto") slows the movement down immensely and is comprised of quiet, sustained sonorities. Variation eight (my personal favorite) is a dream-like arabesque that contains some of my richest harmonic work. Variation nine picks up speed again, leading to a very dense, chromatic variation ("In a confused manner") in which the theme is combined with the first movement's pitch set. Variation eleven ("Maestoso") is the climax of the movement, which is followed by a virtuosic cadenza and a mysterious coda.
The third movement again derives the bulk of its content from the original pitch set, now juxtaposed with the rest of the themes from the first two movements. The majority of the movement is toccata-like (perhaps containing sections somewhat reminiscent of heavy metal music), barring one extended section that occurs before the coda, in which all of the past themes are increasingly broadened and combined simultaneously. After this, the music becomes frenzied once again, reprises the first movement, and then builds fiercely to its final climax.
I've been an immense amount of work into this piece and would appreciate any feedback at all. Even a comment as simple as "I liked it," or "it wasn't really my thing," is helpful. I think I've managed to find a good balance between traditional and modern techniques in this work, as well as a unique harmonic language and a less-than-predictable approach to form. Comments on any of these aspects and my success (or lack thereof) in their utilization are greatly appreciated.
Score:
www.johncareycomposer.com/violaconcertoscore
The majority of the thematic and harmonic material (particularly in the first and third movements) is all derived from a single four note pitch class set (C, G, Ab, B) whose numerous permutations generate an immense amount of unique ideas throughout the work.
The first movement begins with a hazy Lento passage in which the primary motif (based on the aforementioned pitch set) of the work is introduced by the viola. The music builds to a dramatic "Maestoso" passage. The rest of the introduction maintains a dreamy atmosphere, until the section marked "More Lively," where the piece is quickly whipped up into a frenzy and then scarcely loses momentum from that point forward. The rest of the movement is fast, fantastical and very loosely structured. Here there are definitely some strong influences from composers such as Ravel, Szymanowski, and Sorabji.
After the movement relentlessly pushes forward, it hits its climax and plummets downward, ending with a very short reprise of some of the opening material. The second movement begins shortly thereafter. This movement, a theme and eleven variations, is the "core" of the work, so-to-speak. After introducing the theme, variation one begins, which is based on a two-note viola ostinato which has been described by my composition teacher as "obsessive." Variation two has a very sporadic, unpredictable quality. Variation three (marked "Pizzicato") exclusively uses pizzicato for both the soloist and the string section. Variation four gives the impression of a lop-sided waltz, alternating between 5/8 and 6/8 meters. Variation five ("Ritmico") is faster and, as implied my the marking, quite rhythmic. Variation six is based on fast orchestral arpeggios formed from polychords. Variation seven ("Sostenuto") slows the movement down immensely and is comprised of quiet, sustained sonorities. Variation eight (my personal favorite) is a dream-like arabesque that contains some of my richest harmonic work. Variation nine picks up speed again, leading to a very dense, chromatic variation ("In a confused manner") in which the theme is combined with the first movement's pitch set. Variation eleven ("Maestoso") is the climax of the movement, which is followed by a virtuosic cadenza and a mysterious coda.
The third movement again derives the bulk of its content from the original pitch set, now juxtaposed with the rest of the themes from the first two movements. The majority of the movement is toccata-like (perhaps containing sections somewhat reminiscent of heavy metal music), barring one extended section that occurs before the coda, in which all of the past themes are increasingly broadened and combined simultaneously. After this, the music becomes frenzied once again, reprises the first movement, and then builds fiercely to its final climax.
I've been an immense amount of work into this piece and would appreciate any feedback at all. Even a comment as simple as "I liked it," or "it wasn't really my thing," is helpful. I think I've managed to find a good balance between traditional and modern techniques in this work, as well as a unique harmonic language and a less-than-predictable approach to form. Comments on any of these aspects and my success (or lack thereof) in their utilization are greatly appreciated.
Score:
www.johncareycomposer.com/violaconcertoscore
I'd really like to see a score before I can say anything else.
I always congratulate anybody who writes a concerto for viola. It's damn hard to write an interesting one since viola has less than attractive alto range. You have done a terrific job. It's a hell of a long composition as well. No wonder it took you ten months to complete it.
I am slightly sceptic about the form: first movement is generally slow while the second one also begins in slow motion. I would consider swaping second and third movement. I think the variations are the "heart" of the composition. The finale has a pretty sudden end, much more appropriate for middle movement. But it's up to you, of course!
Will you have this concerto performed? One rarely writes such a long composition for his own pleasure. I coudn't read your description text, the font is far too small.
I am slightly sceptic about the form: first movement is generally slow while the second one also begins in slow motion. I would consider swaping second and third movement. I think the variations are the "heart" of the composition. The finale has a pretty sudden end, much more appropriate for middle movement. But it's up to you, of course!
Will you have this concerto performed? One rarely writes such a long composition for his own pleasure. I coudn't read your description text, the font is far too small.
I have a few words for you:
Holy gently caress. This is really god.
Holy gently caress. This is really god.
<p>Mighty creation, sounds great!</p>
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http://www.johncarey...aconcertoscore/I'd really like to see a score before I can say anything else.
Thank you everyone for your comments; I greatly appreciate it!
Since xRoseofDespairx has copied the link to the score for you, would you now be able to give me some feedback? No pressure, of course, but every comment helps.
It's a damn shame too that the viola's range is often considered "less than attractive," because I for one find that this aspect of the viola allows for some extremely expressive and beautiful sounds when the instrument is in the right hands. I think the primary reason for the lack of viola concerti is that the viola's capabilities regarding range and particularly volume require composers to impose restrictions on their orchestration in order to prevent the soloist from completely being drowned out by the orchestra; this is much less of a problem with instruments such as the violin, where the frequencies throughout the majority of the range are significantly more penetrating. Furthermore, very few people desire to be "virtuoso violists," simply because of the common impression that the viola is primarily an ensemble instrument. However, I find the dark, mellow quality of the viola to be preferable to the violin, despite its ostensible limitations -- similarly, I prefer the sound of a Mezzo-Soprano or Baritone singer to their more versatile relatives.
Sudden endings have seemingly become a staple of my style, for better or for worse. I think, however, that the order of the movements really can't be changed, and the fact that both the first and second movements begin slowly is not a major problem since the emotional character between them is so different.
The work will hopefully be performed in the semi-near future by my close friend Tyler Gauruder, to whom this work is dedicated. I am in the process of writing a piano reduction of the orchestra for the first performance. As far as a performance with full orchestra goes, I certainly hope this will be possible soon, but as of now I have no idea when that will be.
Anyway, thanks again everyone. I'm very happy to see that the overall response to this work is positive; a tremendous amount of effort went into it!
I'd really like to see a score before I can say anything else.
Since xRoseofDespairx has copied the link to the score for you, would you now be able to give me some feedback? No pressure, of course, but every comment helps.
I always congratulate anybody who writes a concerto for viola. It's damn hard to write an interesting one since viola has less than attractive alto range.
It's a damn shame too that the viola's range is often considered "less than attractive," because I for one find that this aspect of the viola allows for some extremely expressive and beautiful sounds when the instrument is in the right hands. I think the primary reason for the lack of viola concerti is that the viola's capabilities regarding range and particularly volume require composers to impose restrictions on their orchestration in order to prevent the soloist from completely being drowned out by the orchestra; this is much less of a problem with instruments such as the violin, where the frequencies throughout the majority of the range are significantly more penetrating. Furthermore, very few people desire to be "virtuoso violists," simply because of the common impression that the viola is primarily an ensemble instrument. However, I find the dark, mellow quality of the viola to be preferable to the violin, despite its ostensible limitations -- similarly, I prefer the sound of a Mezzo-Soprano or Baritone singer to their more versatile relatives.
I am slightly sceptic about the form: first movement is generally slow while the second one also begins in slow motion. I would consider swaping second and third movement. I think the variations are the "heart" of the composition. The finale has a pretty sudden end, much more appropriate for middle movement. But it's up to you, of course!
Sudden endings have seemingly become a staple of my style, for better or for worse. I think, however, that the order of the movements really can't be changed, and the fact that both the first and second movements begin slowly is not a major problem since the emotional character between them is so different.
Will you have this concerto performed? One rarely writes such a long composition for his own pleasure. I coudn't read your description text, the font is far too small
The work will hopefully be performed in the semi-near future by my close friend Tyler Gauruder, to whom this work is dedicated. I am in the process of writing a piano reduction of the orchestra for the first performance. As far as a performance with full orchestra goes, I certainly hope this will be possible soon, but as of now I have no idea when that will be.
Anyway, thanks again everyone. I'm very happy to see that the overall response to this work is positive; a tremendous amount of effort went into it!
Since you can't start to play viola at early age, there are many jokes about viola players because of their usual slow playing, poor intonation or disability to react.
For example: what do the finger on viola player's hand and lightning bolt have in common?
Neither of these two hit twice on the same position.
For example: what do the finger on viola player's hand and lightning bolt have in common?
Neither of these two hit twice on the same position.
I took the freedom of editing the description's font size, in order to make it readable.
Otherwise, I have really not much to add about the piece. On the contrary, I'm very avid to thoroughly study the score, as there are far too many interesting passages throughout the concert.
Congrats on a major achievement.
Otherwise, I have really not much to add about the piece. On the contrary, I'm very avid to thoroughly study the score, as there are far too many interesting passages throughout the concert.
Congrats on a major achievement.
This is a really well crafted piece. It's obvious that you've put a lot of time and effort into it. I like the introduction best. There is an 'obsessive' angular quality to this work, at times i thought it was a little too much but this is more of a stylistic impression I suppose. I think some passages would have worked better with some notes taken out if you know what I mean - cuz you have a great sense of atmosphere when it comes to accompaniment.
I am listening to this. And have to say, this is awesome. Thanks for adding the score. I notice you added the obvouis sample marks and movements do not have all pages. But nonetheless it gives a very good insight in what you have done.
Some balance issues have been raised already. Ms 14, a similar Elgar Cello concerto climatic moment comes to mind, but he just left the final note out, because it would drown in the orchestra. I think this is the case in your ms 14 as well. The first violins will overpower it. If you want to finish the scale (I can imagine that), I would at least suggest to let not play the viola the whole note length.
But wow, this is a great piece. Liked it. At times it remind my of some playful moments in the Berg Violin Concerto. Anyway, thanks so much for sharing. Hope to see a live recording here, one day.
Some balance issues have been raised already. Ms 14, a similar Elgar Cello concerto climatic moment comes to mind, but he just left the final note out, because it would drown in the orchestra. I think this is the case in your ms 14 as well. The first violins will overpower it. If you want to finish the scale (I can imagine that), I would at least suggest to let not play the viola the whole note length.
But wow, this is a great piece. Liked it. At times it remind my of some playful moments in the Berg Violin Concerto. Anyway, thanks so much for sharing. Hope to see a live recording here, one day.
I approached this work with a bit of skepticism, but I have to say it's well-written and imaginative. Most of us aren't used to the viola used in a virtuosistic way, and it's well-known that the lower and middle registers of this instrument tend to 'blend' rather than stand out, so it requires a tremendous amount of skill to bring them to the forefront against the orchestral background. I'm glad to see you've done this, and also that my disbelief has been gradually disspelled as the work progressed. Congrats!
Fantastic Piece. You really make the viola "sing".
Is there a live performance available/coming up?
Thank you for this work of art! I will be listening to more by you from now on! Wonderful 5 star piece. I really like how you use the violas full range, and capabilities. Personally, I always like to here pieces written for the viola, especially because I am a violist myself, and because the viola, I think, is underrated as a soloist. I am just starting to listen to the second movement and I can tell you that I really like it so far; I will certainly be looking forward to hearing a real performance of this.
Someday, when my writing improves, I too will attempt a concerto for viola, and when that day comes I can surely tell you that this song will be an inspiration to me! Thanks again.
This is extraordinary! I'm with jrcramer: there needs to be a live performance of this!
I am head over heels in love with this piece. I personally love the Viola, and I feel like it is such and undervalued instrument, but you handled the instrument very well. I can tell you've worked really hard on this piece, and hopefully it will pay off! This piece is too good not to be performed full orchestra. Although I'm afraid it's almost unheard of for a piece this long to be performed by an orchestra, see if you can at least get a reading or something, or allow each movement to be performed individually. I don't know, I've never had a performance by an orchestra, but the least I can say is that this certainly deserves one! Bravo!
Wow, I feel truly honored to have received such high praise from all of you. After investing so many hours and sleepless nights into this piece, it is certain a thrill (and quite frankly, a relief) to know that others enjoy the piece to such an extent, particularly other composers. Thank you all for taking the time to write your reviews.
I'd like to invite you all to take a look at my YouTube page (www.youtube.com/johncareycomposer) which contains videos of my pieces with the scores to follow along with; on it one can also find music of mine that is unavailable on my website, such as previews of works in progress, as well as videos of live performances I have given of my own works and those of other composers.
Thank you again, everyone!
I'd like to invite you all to take a look at my YouTube page (www.youtube.com/johncareycomposer) which contains videos of my pieces with the scores to follow along with; on it one can also find music of mine that is unavailable on my website, such as previews of works in progress, as well as videos of live performances I have given of my own works and those of other composers.
Thank you again, everyone!
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