Sanctus

So, this would be the original of that "ominous" Sanctus for string orchestra... I must confess I can't not honestly say the synthetic voices contribute to a serene mood. A live recording would be lovely.

I wonder why this work did not have any review. Blue people, where were you? The harmonic system is attractive and expressive, but it tends to sound bleak and static after a while. I think you should have broken the strict limited transposition thingy so that you could get an iridiscent radiance outside the primary system that both highlights the climax and give aural relief. Systems are confirmed by the exceptions. Never be a slave of any system.

Yes Juan, finally a review all of these months later!

I think I probably over-indulge myself here. I just enjoy this sort of harmonic "sound world" too much and I'd imagine it probably would grow tiring for others after a while.

I do withhold 3 of the notes of the mode until the more active middle section which builds to a climax but it probably isn't marked enough to have the effect of change. Nevertheless, I'm not really working to a system here, it just "fits" for me. I'm all for breaking systems but the reverse is also true. In some situations (not necessarily here) it is perfectly reasonable to adhere to a system all the way. Some people are too keen to jump from idea to idea to avoid working their original idea to its true completion.

There should be a live recording of this on a computer somewhere in my old university along with a few other pieces of mine from workshops. I should really try and get hold of them some time though this was particularly hard for the singers to sight sing because of the number of tritones and lack of tonal points of reference. There were a few pauses for the singers to collect themselves. It's definitely one that needs a few rehearsals to be effective. That's why I'd like to hear a string orchestra play it because it should be pretty straightforward on string instruments.

Thanks for the Review!

In some situations (not necessarily here) it is perfectly reasonable to adhere to a system all the way. Some people are too keen to jump from idea to idea to avoid working their original idea to its true completion.

Excellent point, and I wholeheartedly agree. I'd rather have strict, consistent and disciplined adherence to a system than haphazard incongruities, randomness and lack of discipline you often see in beginner composers.

In this particular work, I found valid a little deviation from the system core sonority in a very specific place (the climax). I understand now the trick you did here to have a certain change of sonority while remaining true to the system (saving three notes of the mode until the climax; that is a clever and simple trick that is often overlooked, and that can be expressed as "do not burn your material early on", or some such). Perhaps the effect in this case is not as intense or dramatic as it should - maybe the sonority of the withheld "chord" is already contained in the remaining mode, or is not contrasting enough, I have not analysed the score in depth to be able to tell - in any case, the idea itself is a good one.

(By the way, score bookmarked for future close study, along with some others here by different compores who use similar harmonic vocabulary and techniques, which I'm interested to explore in my own compositions).

I was about to comment on the intonation issues caused by the tritones, jumps from dissonance to dissonance, and the such, but the description implied this has been performed - you confirmed that in a comment in the string version, so I assumed the choir could manage the intonation pitfalls. Not a work for an amateur choir, and I see why you are so keen on hearing this performed by a string orchestra. Well, even if the choir performance left to be desired, do not worry, we understand, and it would still be nicer than the synthetic choir (you can keep both renditions here).

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