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- Submitted: Feb 27 2012 05:52 PM
- Last Updated: Mar 27 2012 04:25 PM
- File Size: 10.79MB
- Views: 2330
- Downloads: 928
- Genre: Romanticism
- Sub Genre: Neo-romanticism
- Form: Suite
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Adriana Suite, Op. 27b (first two movements)
10 Votes
2
Due to gentle requests by several YC members, I have uploaded the first two movements of my Adriana Suite, Op. 27b (to which the previously uploaded Adriana’s Waltz is intended to be the third movement). I have also uploaded the fourth movement, and hopefully will be able to post the final movement during the coming weeks (along with the movement that grew “out of control” into a separate tone poem). The two movements together take just over 10 minutes to listen.
As mentioned in the description for Adriana’s Waltz, the Suite is based on a fictional female character of my creation. The pieces attempt to depict several traits of Adriana’s personality (a dreamy, noble and very smart teenager who is also hopelessly shy) as well as episodes of her life as she struggles to “fit” among her peers.
The first movement, written in a typical Romantic style, is divided in two sections. The Prelude is intended to depict Adriana’s yearning shyness. It’s based on a theme (“Adriana’s theme”, of course), first introduced in fragments by a solo horn and then by the violas, to be given a full statement by the strings afterwards. After a transition, the second section (A Short Walk) uses a new melody (derived from Adriana’s theme) and firstly presented by the clarinets, to depict her first venture into her new high school, agonizing between her own awkwardness and the joyful atmosphere surrounding her (hence the subtle countermelodies in this section). A glimpse of hope and confidence finally gets the upper hand in her soul, thus bringing the movement to a close.
The second movement, entitled Joking Around, is an attempt to slip somewhat outside of my usual Romantic self (I’d like feedback on how successful this was). Loosely structured in an ABCBA form, it’s a musical depiction of Adriana and a handful of her friends during a sleepover (hence the mischievous motif at the beginning with which the piece begins, and the reappearance of Adriana’s theme on a solo trombone). In the midst of the chatter, one of the girls playfully wonders about how could possibly a date go for Adriana given her haunting shyness – a dreadful idea for her (hinted by the low strings foreshadowing the Waltz’s main theme), although she says nothing in order not to break the joyous mood of the evening. Then another of her friends begins telling a story about a handsome lad she knows (parodically represented by the march-like tune, Allegro cinico) – not knowing that Adriana is also acquainted to this lad and is in fact secretly and hopelessly in love with him. Fortunately for her, the jokes’ topic wanders away from this boy and back into an upcoming date night – and this time Adriana wholeheartedly joins the pranks, although in a bittersweet fashion. As the girls finally get tired, the music slows down – only to be brought to a sudden end by Adriana’s final punch-line.
Please enjoy and feel free to drop your comments…
NEW UPDATE: The glitch seems to be finally solved! The second movement's audio is now available! Also you can listen to the third movement (Adriana's Waltz) here and the fourth movement (Dreaming a Day Shall Come) here.
As mentioned in the description for Adriana’s Waltz, the Suite is based on a fictional female character of my creation. The pieces attempt to depict several traits of Adriana’s personality (a dreamy, noble and very smart teenager who is also hopelessly shy) as well as episodes of her life as she struggles to “fit” among her peers.
The first movement, written in a typical Romantic style, is divided in two sections. The Prelude is intended to depict Adriana’s yearning shyness. It’s based on a theme (“Adriana’s theme”, of course), first introduced in fragments by a solo horn and then by the violas, to be given a full statement by the strings afterwards. After a transition, the second section (A Short Walk) uses a new melody (derived from Adriana’s theme) and firstly presented by the clarinets, to depict her first venture into her new high school, agonizing between her own awkwardness and the joyful atmosphere surrounding her (hence the subtle countermelodies in this section). A glimpse of hope and confidence finally gets the upper hand in her soul, thus bringing the movement to a close.
The second movement, entitled Joking Around, is an attempt to slip somewhat outside of my usual Romantic self (I’d like feedback on how successful this was). Loosely structured in an ABCBA form, it’s a musical depiction of Adriana and a handful of her friends during a sleepover (hence the mischievous motif at the beginning with which the piece begins, and the reappearance of Adriana’s theme on a solo trombone). In the midst of the chatter, one of the girls playfully wonders about how could possibly a date go for Adriana given her haunting shyness – a dreadful idea for her (hinted by the low strings foreshadowing the Waltz’s main theme), although she says nothing in order not to break the joyous mood of the evening. Then another of her friends begins telling a story about a handsome lad she knows (parodically represented by the march-like tune, Allegro cinico) – not knowing that Adriana is also acquainted to this lad and is in fact secretly and hopelessly in love with him. Fortunately for her, the jokes’ topic wanders away from this boy and back into an upcoming date night – and this time Adriana wholeheartedly joins the pranks, although in a bittersweet fashion. As the girls finally get tired, the music slows down – only to be brought to a sudden end by Adriana’s final punch-line.
Please enjoy and feel free to drop your comments…
NEW UPDATE: The glitch seems to be finally solved! The second movement's audio is now available! Also you can listen to the third movement (Adriana's Waltz) here and the fourth movement (Dreaming a Day Shall Come) here.
What you have so far, I wasn't expecting anything of (what i thought) was pure awesomeness during the Short Walk section. I could totally picture someone walking around some area. You did a very fine job sir
@dbzfreak2: thanks for your comment. I'm very pleased that you enjoyed the piece so much!
The reported problem with the second movement has now been solved, so I'd like to have some feedback on it as well...
The reported problem with the second movement has now been solved, so I'd like to have some feedback on it as well...
Very pleasant music, I think this music is open for a wide audience because is like in the limit of complexity for totally untrained ears and fairly within the zone of highly trained ears, (still can like to every single one you know... ) not a single thing to "fix" on orchestration, everything looks right on its place, this is so peacefully, I hope someday I have a life this peacefully made to write something like this, just no worries at all, well I don't know if that's exactly you or just the piece but is music like designed to please the brain something like that... 
2nd move again everything looks very well but I'll check it with audio.
You look quite in control of your orchestra you could try additional woodwinds like English Horn, Bass Clarinet, Contrabassoon, it can certainly help to your colors.
Also, where is your Tam-tam man!!!! I bet you're the only one writing in XXI Century without that big dish, for me is mandatory haha, if you want me to write the smallest ensemble possible, would be Triangle and Tam-tam.
2nd move again everything looks very well but I'll check it with audio.
You look quite in control of your orchestra you could try additional woodwinds like English Horn, Bass Clarinet, Contrabassoon, it can certainly help to your colors.
Also, where is your Tam-tam man!!!! I bet you're the only one writing in XXI Century without that big dish, for me is mandatory haha, if you want me to write the smallest ensemble possible, would be Triangle and Tam-tam.
@SYS65: I'm very grateful about your helpful comments. Indeed, this first movement has a subtle sense of peacefulness (for which I long myself, although I can't really complain about my life, other than needing more spare time to compose).
So far I've restrained from adding extra woodwinds to the Suite (although I use them extensively in the related tone poem). Sometimes I feel like missing them myself, so I might consider adding them to the Suite as well, at least for the final movements.
Tam-tam? Really cool! Didn't feel like needing it for the first and third movements - but appears in the second, and will be an almost certain fixture in the last one
...
The second movement's audio is now available after a long battle, so I'd like some feedback about it as well ...
So far I've restrained from adding extra woodwinds to the Suite (although I use them extensively in the related tone poem). Sometimes I feel like missing them myself, so I might consider adding them to the Suite as well, at least for the final movements.
Tam-tam? Really cool! Didn't feel like needing it for the first and third movements - but appears in the second, and will be an almost certain fixture in the last one
...The second movement's audio is now available after a long battle, so I'd like some feedback about it as well
...
Hi Austenite.
Sadly I don't have any constructive criticism to give you
I know very little about arranging in general, so you're stuck with the basic: Do I like your piece.
That's not all bad though, because I like it. It sounds like film-music to me, and I think it would go really well with a clip of this Adriana going for a walk. I wish I could say that your arrangement is really solid, because it sounds good to me, but obviously it doesn't mean a lot if I say that, knowing that I don't know anything about what a good arrangement is It's music with feelings and a thick atmosphere, so you must have done something right. Hope I will hear this with a real orchestra some day.
Sadly I don't have any constructive criticism to give you
I know very little about arranging in general, so you're stuck with the basic: Do I like your piece. That's not all bad though, because I like it. It sounds like film-music to me, and I think it would go really well with a clip of this Adriana going for a walk. I wish I could say that your arrangement is really solid, because it sounds good to me, but obviously it doesn't mean a lot if I say that, knowing that I don't know anything about what a good arrangement is
It's music with feelings and a thick atmosphere, so you must have done something right. Hope I will hear this with a real orchestra some day.@Silas: whenever it's technical advice or just triggered emotions, any constructive feedback is important for a composer. Most people can't really tell what they love the most about a certain piece, but the fact that they indeed love it is by itself a success for a musician.
I'm glad you could still tell I "must have done something right" (and most likely something wrong too
). Nice idea to have a video clip of Adriana's walk - if she was available ...
And, of course, having a real orchestra performing the suite is one of my biggest dreams, too!
I'm glad you could still tell I "must have done something right" (and most likely something wrong too
). Nice idea to have a video clip of Adriana's walk - if she was available ...And, of course, having a real orchestra performing the suite is one of my biggest dreams, too!
Austenite, how much time in experience or content of inspiration did it require to compose this because it sounds very subtle & professional? I think of a movie setting in the 1950's or 1960's with golden-brownish colors & an incomparable aurora of paradise on earth.
I too think this shows a really deft hand -- subtle and professional are two words that come to mind, indeed!
This is really ... disarming. It's hopelessly charming, and endearing! What else can I say?
I think this is a really strong first movement, and I think it helps to bolster the sense of noble traditionalism on Adriana's part that this is so -- sometimes the first movement is sort of an introduction instead of a full piece these days, but it used to be the main course, with the other movements as development on that meat. That's what this feels like to me.
I also loved your use of the timpani -- it did, indeed, sound like butterflies in the stomach
Thank you for sharing -- I really loved this! It might be "traditional" in a sense, but it's also unique and unusual in its own quirky way. I'm quickly becoming a fan of your work
This is really ... disarming. It's hopelessly charming, and endearing! What else can I say?
I think this is a really strong first movement, and I think it helps to bolster the sense of noble traditionalism on Adriana's part that this is so -- sometimes the first movement is sort of an introduction instead of a full piece these days, but it used to be the main course, with the other movements as development on that meat. That's what this feels like to me.
I also loved your use of the timpani -- it did, indeed, sound like butterflies in the stomach
Thank you for sharing -- I really loved this! It might be "traditional" in a sense, but it's also unique and unusual in its own quirky way. I'm quickly becoming a fan of your work
@Marzique: thanks a lot! I'm very glad that my music stirs such precise images in your mind. It's very interesting that you would set the "movie" in the 50s or 60s... as Adriana (as I imagine her, at least) tends to bear a vague resemblance of Audrey Hepburn ...
@Serge: now it's me who feels... disarmed! I'm very grateful about your kind words about my work. I made an extra effort to improve some compositional aspects pointed out through previous feedback, and am really satisfied that it somehow should show in this piece.
@Both of you: a million thanks for your comments. In the meanwhile I've fixed the problem with the second movement, so I'd like some feedback on it if possible ...
...@Serge: now it's me who feels... disarmed! I'm very grateful about your kind words about my work. I made an extra effort to improve some compositional aspects pointed out through previous feedback, and am really satisfied that it somehow should show in this piece.
@Both of you: a million thanks for your comments. In the meanwhile I've fixed the problem with the second movement, so I'd like some feedback on it if possible
...
Your musical language appears to be homogenous enough for the entire suite. How many movements are overall?
I'm so pleased that you've shared these other movements as I really enjoyed the waltz movement you posted earlier. These other movements are likewise excellent and this will truly be a superb work once you've completed it.
@Sojar: the Suite should have five movements overall (these two, plus the Waltz, plus a slow movement I'm currently working at, followed by a Finale). I don't think an eventual performance of the entire Suite would take over 25 minutes.
@Bkho: I'm very pleased by your high regard on the Suite. I hope the final two movements don't "bring it down". Thanks for your comment, very appreciated!
@Bkho: I'm very pleased by your high regard on the Suite. I hope the final two movements don't "bring it down". Thanks for your comment, very appreciated!
Robert, this is just wonderful.... I admire your ability to create great music and deep emotions!
I wish you a public performance of your suite, as I am sure it will be a big success...
Stephan
I wish you a public performance of your suite, as I am sure it will be a big success...
Stephan
@Stephan: I can't be anything but grateful about your enthusiastic praise on this work. So far I've never been able to arrange for a concert performance for any of my pieces (including this one) - so I can't really tell how would this be greeted by an audience. But I still hope for my music to gather enough interest from musicians that this might change soon... Thanks for your good wishes as well ...!
...!
I really enjoyed it, it sounds really peaceful, dream like... and I really liked the big crescendo before the end of the first movement.
Also - the second movement start's brilliantly - it has a very playful feel
Good luck on the final movements!
Also - the second movement start's brilliantly - it has a very playful feel
Good luck on the final movements!
@Caladluin: very pleased that you enjoyed both movements. That 'big crescendo' is perhaps the passage I'm most fond of so far. As for the second movement, I did an effort to employ a few composing approaches I don't usually display, aiming for that 'playful' feeling. Thanks for your comment!
I love it. It sounds quite professional. I do sense Tchaikovsky in it. It would go well with a ballet. I see that you say you have no professional training - I am impressed. I don't yet either, I am trying to get into the music department at my local university, audition's in 3 weeks. But how did you learn the orchestration?
I really loved the different textures you used. Sounds very very Tchaikovsky-esque, yet your own unique voice shines through.
Very beautiful. Now of course, I have nothing bad to say. To me, the scores look nonetheless professional and and sound is immaculate. The piece is very vivacious.....
Great harmonies and the ideas you based this piece on really shine through, giving this a real personality.
You are wasted as a lawyer!
You are wasted as a lawyer!
@Kagenui: I hadn't thought about a ballet before, but it's a great idea.
You're right, I've got no formal training (so having the word "professional" referred to my work is a nice surprise). But since I'm very inclined to orchestral works, reading a lot and learning about orchestration has been a must for me. I've also listened to a ton of music and studied a sizable quantity of scores, and did my fair share of exercise by orchestrating a few pieces originally scored for woodwind quintet.
@Johann15: I'm very thankful about your comments. Being myself a big-time Tchaikovsky fan, it's no wonder that his influence shows somewhere in my works (as Kagenui and others have pointed out as well). But I also value a lot the fact that you find recognizable "unique" elements .
@ImperialFlute: Thanks again for the compliments! I work very hard to make my scores readable at the very least (from the days when I scored by handwritting ), so I'm grateful that you find them at a high level.
@Jsands: I've felt that way myself quite often - but sadly I still can't make my family's living with music . Thanks for your encouragement, though!
You're right, I've got no formal training (so having the word "professional" referred to my work is a nice surprise). But since I'm very inclined to orchestral works, reading a lot and learning about orchestration has been a must for me. I've also listened to a ton of music and studied a sizable quantity of scores, and did my fair share of exercise by orchestrating a few pieces originally scored for woodwind quintet.
@Johann15: I'm very thankful about your comments. Being myself a big-time Tchaikovsky fan, it's no wonder that his influence shows somewhere in my works (as Kagenui and others have pointed out as well). But I also value a lot the fact that you find recognizable "unique" elements
.@ImperialFlute: Thanks again for the compliments! I work very hard to make my scores readable at the very least (from the days when I scored by handwritting
), so I'm grateful that you find them at a high level.@Jsands: I've felt that way myself quite often - but sadly I still can't make my family's living with music
. Thanks for your encouragement, though!
I would critique but it is truly really good. I wish only there was better instruments (midi)... But that is besides anything important. Good job.
@pequadcob: thanks for your comment. Of course the rendering could be better (I'm using GPO) - but just three months ago I was stuck with an obsolete MIDI with which I would have been really ashamed of posting this work, so this is actually a big improvement.
I love how you dare to keep the orchestral parts subtle and "blank" at times...I have the fear/tendency to have to use every instrument at every turn, which ofcourse doesn't work.
well done
well done
@Beethovenbd: thanks for your comment. As many people in YC must have noticed by now, I normally feel most comfortable composing for orchestra - but quite often I have experienced myself this "fear" of leaving some performers out for too long. However, I strive to prevent this "fear" from thwarting the artistic purpose of the piece as a whole. When planning a composition, I tend to think the same way than a writer planning a novel, with the instruments being the characters and the themes/motifs being the plot. Of course, some characters will be more relevant for the plot than others - but for me that's the better way to make the story work as a whole.
I like the style of these 3 works. it makes me daydream!(And sorry I don't know any musical theory to criticize your work!)
@Fred Volsung: a thousand thanks for your comment. As a composer, I love to know if my music stirs any reactions on its audience. Most people can't really tell why did they like or dislike a piece beyond the theory and technique, but the fact that they react at all on the music is in itself a reward for a composer.
Clever work! I like your orchestration here, i found some interesting ideas you used in both the first and second movement. I like how you support the harmonies through out the duration of the two movements, and how you manipulate the sound here thumbs up!!!
thumbs up!!!
1st Movement.
Very very good scene painting. This is wonderful. The only part of it I found was I was a little sad for measure 93 to come, I wanted the climax point to continue just a little bit longer. But that really is just personal preference, I liked the state of euphoria that it was giving.
Small thing m. 15 Tbn 1,2. You might want to add a courtesy dynamic marking. Same for Horns 1,2 in 67. Its only been two measures but in 68 for the strings same thing, You have been being heavy on dynamic markings after only about a measures rest adding them.
Thats all I have, I'll get to movement 2 a bit later.
Very very good scene painting. This is wonderful. The only part of it I found was I was a little sad for measure 93 to come, I wanted the climax point to continue just a little bit longer. But that really is just personal preference, I liked the state of euphoria that it was giving.
Small thing m. 15 Tbn 1,2. You might want to add a courtesy dynamic marking. Same for Horns 1,2 in 67. Its only been two measures but in 68 for the strings same thing, You have been being heavy on dynamic markings after only about a measures rest adding them.
Thats all I have, I'll get to movement 2 a bit later.
I didn't realize I had taken so long for an answer...@Cesar Beita: thanks for your warm reception of my work. I was using a somewhat limited instrumentation here (although I yielded to some suggestions and expanded it for the last two movements), but I though I had enough color available (as you can see in most of my compositions, I'm very inclined to colorful orchestrations).
@Joshm222: I'm really glad that you could "see" the painted scene. You correctly point out that the climax might have been a couple measures too short - and that's indeed a trend in my first movement's climaxes
... If I give another look at this piece (which I'm likely to do in the near future, to have a more uniform orchestration), I might extend this climatic secion a bit longer.I'm a bit disappointed that there was no review for the 2nd movement, though
.@Both of you: thanks for your helpful comments!
I really liked both movements, but I did think it could use more color in the upper range of the orchestra. You like to use the middle range (the approximate range of the horn), but I thought the "joking" aspect of the 2nd movement could have been carried better at times in the strings or as a melody in the trumpets. Just my opnion...
@FossMaNo1: I'm honored by the fact that you dropped by and commented on my work (I hope to reciprocate sometime soon).
You're right about the first two movements making little use of the upper ranges, a shortcoming I attribute to the limited orchestral forces I originally called for, and one that I have attempted to address (for instance, I added a 3rd flute doubling piccolo from the third movement onwards, so it would make sense to add them from the start). There are several passages in the second movement where these choices would fit perfectly .
Thanks a lot!
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