Ian and John Variations

Well my review is not about on who wrote what section on the composition, for if i did that then this review would be geared for each composer and about the composition itself, which a review should about. Without a delay i should my case...
Variational writing, although rooted in the classics, you composition goes beyond the sectional writing and takes the to next measure. Each variation present a new style, per say, and the harmony gets atonal slowly. We do get there by the end. My bias is for harmony is, however, the section that touches Debussy and Ravel style. Who keeping favorites anyways? Those sixteen notes variations is also comical. I truly see no errors in this piece. Keep the work coming.

Holy. Crap.

As I watched and listened to this MASTERPIECE, I simply shook my head numerous times and said to myself, "What geniuses live among us today."

I'm going to have fun guessing as to who made what variations. I've listened to a few of John's works, his "Cramer" sonata sticking most with me. But I've only listened to one of Ian's works, I think -- a Fugue in C Minor. So I'm going to have to try and work by process of elimination, since I don't think listening to one fugue by a composer gives me a whole lot of knowledge of his composing style, haha. I wonder how I'll do?

Ok, Main Theme -- frankly, it could have come from either of you two, since it's just a simple, charming, completely tonal ditty. However, I'm guessing that John wrote the beginning theme, since he's the one who's uploaded the track, and so I'm guessing it was his idea to do this in the first place. But who knows? I have no idea, it could honestly be either one of you. So, my guess is John.

1st Variation, Allegretto -- This seems like Ian to me. The bass arpeggios don't sound like something John would write, and I think he'd put finger markings on the score if he did write something like that. So, my guess is Ian.

2nd Variation, Scherzando -- This is really quirky. Sounds kind of "John-ish" to me, for some reason -- don't know why. So, I guess "John" here.

3rd Variation, Poco Vivace -- Hmm, I think this is Ian. I think if it were John, he'd have made certain notes an alternate voice, not changing the music, but the look of the score. And the "p" than "f" section at measure 40 doesn't seem like something John would do. So, I guess Ian here.

4th Variation, Allegretto -- Really beautiful variation here. "Delicato", haha -- how absolutely charming. Well, I'm on the fence on this one, since I think both of you are capable of this, but I'm guessing Ian. I think open 5th sounds would annoy John too much for him to write this, even though it really works here. So, I guess Ian.

5th Variation, Con Moto -- This sounds like John's musical language to me -- the little trill at 63, the lead-in note at measure 66, and the last 4 measures sort of sound like something John would do, to me. So, I guess John here.

6th Variation, Vivace -- What an awesome jazz variation! Really fantastic chords. I'm sort of leaning towards Ian on this one -- yes, my guess is Ian.

7th Variation, Allegretto -- Hmm, the 3rd measure of this variation sounds like something John would do, harmonically. The way the voices lead in at certain parts also speaks to me of John, for some reason. So, I guess John here. (Really great variation, by the way!)

8th Variation, Andante Rubato -- Wow, this is gorgeous ... just wow. I think either one of you could have done this, but I'm leaning toward Ian here -- the wide gap in the left hand on measure 113 doesn't seem like something John would write, even though it could be rolled. So, I guess Ian here.

9th Variation, Allegro Molto -- Great neo (?) classical music here -- that's John's main style, so that's who I'm guessing did this variation.

10th Variation, Animato -- Another really quirky variation. Seems a little bit too weird for John, so I'll guess Ian here.

11th Variation, Allegro non troppo -- Another really excellent and exciting variations -- I love the arpeggios here. I'm guessing John here -- the way the arpeggios are written seems like something John would write.

12th Variation, Presto -- Whoa, man, trippy. Don't you know? Crack is whack. But anyhoo, this is really quite fascinating -- the actual main theme is shockingly clear, despite the dissonance. This seems like something wacky Ian would do, so I'm guessing Ian here. (My guessing method is so sophisticated, don'tchathink?)

13th Variation, Vivace -- Hmm, the finger markings here seem like something John would give attention to, as well as the way the notes are phrased with their slurs. So, I guess John.

14th Variation, Con Fuoco -- Wow, avant-garde territory here. Similar in a way to the Presto, except now it's on steroids AND crack. Probably Ian.

15th Variation, Moderato -- John probably decided to try his hand at the style since Ian did so, and this is the result ...? I guess John. Measure 241 sounds like something he'd do.

Well, I've probably horribly missed the mark on these, but I'm sure it'll be entertaining for you both to read, which is why I chose to embarrass myself this way xD Thank you very much for sharing this with us -- this is AMAZING music. You two really should continue to collaborate, I'm deeply impressed with the results!

I really, REALLY loved the variations 2, 10, 12, 14, and 15. The rest, meh.. not sure what I think of them. I think Ian wrote the ones I liked.

haha. this is so cool. I think I agree with Serges analysis, not sure about all though. Especially in the begining I would swap the first 3 guesses. That way John as all the odd numbers, and Ian all the even, would be some way to structure such a cooperation. Note as well the coda of var 10 that is preparation for the var 12, as if the writer did not know what was to come in between Anyway...
I think there might be another slight difference (besides engraving clues).
I feel like John grants himself a little more freedom to alter the harmonic scheme. Well. Not saying Ian doesnt, but I feel like he is following the 8 measure structure more to the letter (var 6, 8, 10, for example) On the other hand In the variations I think have been written by John the the G7 chord in the end is more often there, whereas Ian doesn't see the problem in ending in A minr (or even with the minor seventh in it, cf var 4)

But why put an opus number above a cooperation. I think the changes that it is the 9th opus of both are slim...?

I'm glad y'all like them. The idea of a collaboration was John's while I suggested the form.
Here is who wrote what.

Edited.

Way to spoil it for future listeners, douche. I bet you kick kittens just for fun.

Yes he was and for the right reasons.

Errr... Oops. I thought you were just revealing it to everybody then and there. It didn't occur to me it was like a "Highlight here for spoilers" kind of thing.

I've gone ahead and edited the above post. Sorry

This seemed to be variations on "ring around the rosies" meets Mario brothers. That being said, I liked how you pulled it together. Very nice, thanks for sharing.

Variation no 2 EXCELLENT