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- Submitted: Aug 26 2011 01:41 PM
- Last Updated: Mar 13 2012 09:35 PM
- File Size: 53.9MB
- Views: 2817
- Downloads: 1,061
- Genre: Early 20th Century
- Sub Genre: Neo-romanticism
- Form: Symphonic Suite
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The Warrior of the Iron Mountains Op.12
5 Votes
1
another re-post from.... can't recall..
The Warrior of the Iron Mountains
Opus 12
for DMA Army Orchestra.
From this moment I tell you, what you’re going to need here, is time. (about an hour to read and listen all)
History:
This was my first orchestral work, (without counting two failed previous projects that ended in a few pages only and were called off later). Opus 12 written between October 2001 to March 2004. It contains that simplicity and easiness of every first work, mainly the 1st and 2nd movements, but at the same time is the born of a strong and very personal style.
The very first thing I wrote in my life, many years ago, was a short motif made of 4 notes: C, G, G#, D#, which of course is C, G, Ab, Eb in C minor, but at that time I didn’t know the flats.
This work is based on that theme, it appears from the very beginning on first mov., (in D minor) at the end of the second mov. and several times in the fifth mov, but changed into a larger, faster theme.
When I wrote the first and second movements, (Oct 2001 - Feb 2002) I didn’t have computer or software, I didn’t have internet and access to full scores of great works to study, I didn’t own very much recordings of important works, no way to listen what I was writing (Midi or libraries) nothing more than a piano, a pencil, and manuscript paper that I had to create myself.
I stopped the project after writing a few pages of the third mov, and remained as a frozen project for more than a year. On November 2003 I stared writing again after a long “meditation” process about the structure of the following movements, this time I had computer and internet access.
This work is about myself, my life, for me the life is a continuous battle, that I (we) have to fight against many difficulties of several kinds.
Description:
I’ll describe the movements and their parts, In mov 4 and 5 I'll have to explain using other words and terms because I can’t tell you what they mean exactly due to they are very personal, private issues.
(I have to say all titles were chosen after finishing the entire work)
1 Mysterious Midnight: (6:37) (20Oct01 – 21Dic01)
This is nothing but a mere introduction using the main motif over and over without showing any strong aspect yet. I use two uncommon instrumentation elements, the “Palo de lluvia” (“Rain stick” or “Rainmarker”) an ethnic percussion instrument and a vibraphone played with bows.
There are no internal "meanings" in this movement.
2 Prove of Combat: (6:40) (21Dic01 – 2Feb02)
I always conceived this movement as a test, in orchestration matters and also within the story, it had to be strong but not as strong as the final movement, it had to be like military practices but not real war because there is no enemy yet.
The high horns (in the limit of their range) announce the warrior facet of the personality, the willing of fight, the capability or fight. At the end the entire orchestra shows its power for a short time ending with the loud and strong main motif.
3 Archaic Visions: (15:00) (4 Feb02 – 10Feb02, Nov03 – 4Apr04 - 10Jun04)
This movement has 3 part, (3 visions)
1 (00:00 – 05:16) A weird atonal section that my brother named the “Attilan Scherzo” (referring to Attila the hun) which is not very war alike but old and antique from savage races.
2 (05:17 – 10:53) An Adagio, a bit Brucknerian, slow and dark, that refers to a non action but reflection moment of a person. It suddenly grows and and ends in a loud dramatic climax at 9:17.
3 (10:54 – 15:00) A Piano solo, that tents to be jazzy at the beginning but it’s certainly not, (this part was written at the very end of the project) the piano builds a dialog with itself and ends in a repetitive but very mystic motifs.
4 Art Creatures: (12:43) (1Dic03 – 15Feb04)
This is the “pretty” movement. There are many personal issues hidden in the music that I won’t explain here, I will only say I describe 3 “creatures”, 1 “creatures type” and 1 “feeling”.
1 (00:00 – 05:05) This first creature is very beautiful, wise and owns a colorful range of knowledge.
2 (05:06 – 05:50) This creature is not well known to me, but owns a very deep sweetness.
(there is a pause of description from 5:53 to 6:39)
3 (06:40 – 08:43) This creature is beautiful too, very dear, close to me and non complex in many aspects, compared with the first one.
4 (08:46 – 11:00) A complete description of the nature of all the previous creatures where beauty is the most considerable aspect. I built this using 3 violins solos and celesta as the primary elements.
(there is a pause of description from 11:00 to 11:15)
5 (11:17 – 12:43) A description of the feeling I have each time I see these creatures.
5 The Battle of the Super Troops (9:41) (10Dic03 – 26Ene04)
Ok, this is it, the moment is come, all the sentimentalisms of the previous movement are left behind, the warrior becomes a hard, cold, insensitive machine, that has to fight because this time there is an enemy, the strength and capability of ignoring human weaknesses becomes essential, the only way to survive is to be harder than the hardness, colder than the coldness and stronger than the enemy. This is what the warrior has come to do, the moment expected through the entire work.
This movement includes 3 strikes, at 1:00, at 5:21 and 8:19. With two additional strong attacks at 3:14 and 6:49, this one at 6:49 that interrupts the English horn theme has a strong meaning that I definitely won’t tell you, well I just tell you that I squash and crash someone there (someone….. a person actually)
This entire work ends with the strongest and craziest ending I’ve ever written.
I’m very satisfy about this work, my first big project,
About the Recording:
A LOT of work to do, but now it’s done I listen by first time what I wrote years ago. Recorded, using EDIROL Orchestral, GPO v.1 for Solo violin, Vibraphone and Piano, and additional percussion from my personal library loaded into FL Studio 8 working as VST plugin, everything loaded into Cubase SX 3. A big amount of adjusts were made from the original sequence (made on Sibelius), and many, many MIDI messages to indicate every single thing to the EDIROL engine.
I’m afraid I won’t post the complete score, (the first page of each movement only) I apologize with those fine members for this behavior, but I won’t post the score until it gets properly protected, I hope you can understand that..... Just Imagine you’re in a Concert where you can only listen.
EDIT:
I have uploaded full score, old files but complete length.
The Warrior of the Iron Mountains
Opus 12
for DMA Army Orchestra.
From this moment I tell you, what you’re going to need here, is time. (about an hour to read and listen all)
History:
This was my first orchestral work, (without counting two failed previous projects that ended in a few pages only and were called off later). Opus 12 written between October 2001 to March 2004. It contains that simplicity and easiness of every first work, mainly the 1st and 2nd movements, but at the same time is the born of a strong and very personal style.
The very first thing I wrote in my life, many years ago, was a short motif made of 4 notes: C, G, G#, D#, which of course is C, G, Ab, Eb in C minor, but at that time I didn’t know the flats.
This work is based on that theme, it appears from the very beginning on first mov., (in D minor) at the end of the second mov. and several times in the fifth mov, but changed into a larger, faster theme.
When I wrote the first and second movements, (Oct 2001 - Feb 2002) I didn’t have computer or software, I didn’t have internet and access to full scores of great works to study, I didn’t own very much recordings of important works, no way to listen what I was writing (Midi or libraries) nothing more than a piano, a pencil, and manuscript paper that I had to create myself.
I stopped the project after writing a few pages of the third mov, and remained as a frozen project for more than a year. On November 2003 I stared writing again after a long “meditation” process about the structure of the following movements, this time I had computer and internet access.
This work is about myself, my life, for me the life is a continuous battle, that I (we) have to fight against many difficulties of several kinds.
Description:
I’ll describe the movements and their parts, In mov 4 and 5 I'll have to explain using other words and terms because I can’t tell you what they mean exactly due to they are very personal, private issues.
(I have to say all titles were chosen after finishing the entire work)
1 Mysterious Midnight: (6:37) (20Oct01 – 21Dic01)
This is nothing but a mere introduction using the main motif over and over without showing any strong aspect yet. I use two uncommon instrumentation elements, the “Palo de lluvia” (“Rain stick” or “Rainmarker”) an ethnic percussion instrument and a vibraphone played with bows.
There are no internal "meanings" in this movement.
2 Prove of Combat: (6:40) (21Dic01 – 2Feb02)
I always conceived this movement as a test, in orchestration matters and also within the story, it had to be strong but not as strong as the final movement, it had to be like military practices but not real war because there is no enemy yet.
The high horns (in the limit of their range) announce the warrior facet of the personality, the willing of fight, the capability or fight. At the end the entire orchestra shows its power for a short time ending with the loud and strong main motif.
3 Archaic Visions: (15:00) (4 Feb02 – 10Feb02, Nov03 – 4Apr04 - 10Jun04)
This movement has 3 part, (3 visions)
1 (00:00 – 05:16) A weird atonal section that my brother named the “Attilan Scherzo” (referring to Attila the hun) which is not very war alike but old and antique from savage races.
2 (05:17 – 10:53) An Adagio, a bit Brucknerian, slow and dark, that refers to a non action but reflection moment of a person. It suddenly grows and and ends in a loud dramatic climax at 9:17.
3 (10:54 – 15:00) A Piano solo, that tents to be jazzy at the beginning but it’s certainly not, (this part was written at the very end of the project) the piano builds a dialog with itself and ends in a repetitive but very mystic motifs.
4 Art Creatures: (12:43) (1Dic03 – 15Feb04)
This is the “pretty” movement. There are many personal issues hidden in the music that I won’t explain here, I will only say I describe 3 “creatures”, 1 “creatures type” and 1 “feeling”.
1 (00:00 – 05:05) This first creature is very beautiful, wise and owns a colorful range of knowledge.
2 (05:06 – 05:50) This creature is not well known to me, but owns a very deep sweetness.
(there is a pause of description from 5:53 to 6:39)
3 (06:40 – 08:43) This creature is beautiful too, very dear, close to me and non complex in many aspects, compared with the first one.
4 (08:46 – 11:00) A complete description of the nature of all the previous creatures where beauty is the most considerable aspect. I built this using 3 violins solos and celesta as the primary elements.
(there is a pause of description from 11:00 to 11:15)
5 (11:17 – 12:43) A description of the feeling I have each time I see these creatures.
5 The Battle of the Super Troops (9:41) (10Dic03 – 26Ene04)
Ok, this is it, the moment is come, all the sentimentalisms of the previous movement are left behind, the warrior becomes a hard, cold, insensitive machine, that has to fight because this time there is an enemy, the strength and capability of ignoring human weaknesses becomes essential, the only way to survive is to be harder than the hardness, colder than the coldness and stronger than the enemy. This is what the warrior has come to do, the moment expected through the entire work.
This movement includes 3 strikes, at 1:00, at 5:21 and 8:19. With two additional strong attacks at 3:14 and 6:49, this one at 6:49 that interrupts the English horn theme has a strong meaning that I definitely won’t tell you, well I just tell you that I squash and crash someone there (someone….. a person actually)
This entire work ends with the strongest and craziest ending I’ve ever written.
I’m very satisfy about this work, my first big project,
About the Recording:
A LOT of work to do, but now it’s done I listen by first time what I wrote years ago. Recorded, using EDIROL Orchestral, GPO v.1 for Solo violin, Vibraphone and Piano, and additional percussion from my personal library loaded into FL Studio 8 working as VST plugin, everything loaded into Cubase SX 3. A big amount of adjusts were made from the original sequence (made on Sibelius), and many, many MIDI messages to indicate every single thing to the EDIROL engine.
I’m afraid I won’t post the complete score, (the first page of each movement only) I apologize with those fine members for this behavior, but I won’t post the score until it gets properly protected, I hope you can understand that..... Just Imagine you’re in a Concert where you can only listen.
EDIT:
I have uploaded full score, old files but complete length.
Por fin escuché el 5to movimiento (La Batalla de las Super Tropas) y entiendo mucho mejor porqué lo consideras el clímax emocional de toda la obra. El dramatismo es extraordinario, y se mantiene a pesar de la longitud del movimiento y de la ausencia de instantes "líricos". Es una pieza bastante estruendosa (¿cuál batalla no lo es?), donde la percusión y los metales predominan ampliamente. Además es muy transparente (prácticamente no es necesario leer el programa, el título y la música son muy explícitos). Una obra muy audaz.
Hola
Gracias por comentar, bueno en su momento (hace 7 años) esto fue asi lo maximo que pude escribir, lo super super mas complejo
con 100% uso de mi cabesota, hoy veo la partitura y pues le quiziera cambiar algunas cosas pero asi la voy a dejar, (bueno si cambie unos detallitos en el clarinete y otros por alli) pero esta casi como la escribi originalmente.
Igualmente en esta el conflicto es algo real, que tengo o tube que luchar, tiene asi tanto significado especifico que escribi todo un documento sobre la obra, algunas casi compas por compas, porque cuando la hice me parecio que podria sonar muy obscura para algunas personas y no queria que la malinterpretaran, ya no hago eso de hacer tanto rollo por explicar, pero esta como fue la primer pues fue asi como un super logro, el documento es "top secret" jajaja, se llama "Que onda con el guerrero ese ?"
luego hice una todavia mas mounstruosa, de 100 minutos, de esa no tengo ninguna grabacion, es enorme, tambien me tomo 4 años, luego entre aqui al YC en 2009 y me dijeron que tenia que escribir cosas mas chiquitas porque estas estaba dificil que pudiera encontrar la forma de estrenarlas... y pues por ay va la historia,
Gracias por comentar, bueno en su momento (hace 7 años) esto fue asi lo maximo que pude escribir, lo super super mas complejo
con 100% uso de mi cabesota, hoy veo la partitura y pues le quiziera cambiar algunas cosas pero asi la voy a dejar, (bueno si cambie unos detallitos en el clarinete y otros por alli) pero esta casi como la escribi originalmente.Igualmente en esta el conflicto es algo real, que tengo o tube que luchar, tiene asi tanto significado especifico que escribi todo un documento sobre la obra, algunas casi compas por compas, porque cuando la hice me parecio que podria sonar muy obscura para algunas personas y no queria que la malinterpretaran, ya no hago eso de hacer tanto rollo por explicar, pero esta como fue la primer pues fue asi como un super logro, el documento es "top secret" jajaja, se llama "Que onda con el guerrero ese ?"
luego hice una todavia mas mounstruosa, de 100 minutos, de esa no tengo ninguna grabacion, es enorme, tambien me tomo 4 años, luego entre aqui al YC en 2009 y me dijeron que tenia que escribir cosas mas chiquitas porque estas estaba dificil que pudiera encontrar la forma de estrenarlas... y pues por ay va la historia,
Chiquitas o grandes, espero que algún día podamos estrenarlas. Quizás no hagamos obras del tamaño de las de Mahler, pero no tenemos porqué dedicarnos sólo a las miniaturas...
Interesantísima historia sobre tu obra. Muchas veces expresamos con la música asuntos que quisiéramos explicar sin delatarnos (mis propias obras están llenas de programas secretos o semisecretos). Pero como dices, tal vez es mejor no hacer "tanto rollo por explicar", o cada una de nuestras obras iría acompañada de un folleto...
Interesantísima historia sobre tu obra. Muchas veces expresamos con la música asuntos que quisiéramos explicar sin delatarnos (mis propias obras están llenas de programas secretos o semisecretos). Pero como dices, tal vez es mejor no hacer "tanto rollo por explicar", o cada una de nuestras obras iría acompañada de un folleto...
Attention:
I have finally decided to upload the score of this, just because a piece in Major Works without score looks very bad.
This was my first orchestral composition, the score is very old, it looks ugly, it needs revisions, I made a quick revision today, but I read 266 in a few hours so I made a few changes, in dynamics mostly, with time I will make a better score.
I find in my own score things that I have discouraged on other YC works, so is not hypocrisy, just my knowledge wasn't the same a decade ago than it is today.
I have finally decided to upload the score of this, just because a piece in Major Works without score looks very bad.
This was my first orchestral composition, the score is very old, it looks ugly, it needs revisions, I made a quick revision today, but I read 266 in a few hours so I made a few changes, in dynamics mostly, with time I will make a better score.I find in my own score things that I have discouraged on other YC works, so is not hypocrisy, just my knowledge wasn't the same a decade ago than it is today.
I like the orchestration, it would be very suitable for a video game score, film, or an audio book background music. Your score brings back a lot of heavenian memories in my consciousness, thank u 4 dat.
Thanks for your comment,
video game ? audio book ? did you listened only first movement ?
video game ? audio book ? did you listened only first movement ?
When I have the time, I've gotta listen to this ^_^
Thanks for your comment, video game ? audio book ? did you listened only first movement ?
Yes, i listened to all the movements, perhaps your right, it's more powerful than what i previously presumed. I am curious, what do you think would be the best application for your score?
By the way, your archaic visions were my favorite.
Well first I want to thank you for taking the time on listening this, very few have done that. The best application for this is just what it is, a concert piece, to perform in a concert like a symphony, actually the form is what could be a symphony, just I didn't named it like that.
Ok the Archaic ones... yeah I like that too
Thanks again.
Ok the Archaic ones... yeah I like that too
Thanks again.
I only had time to listen to "Mysterious Midnight"... abso-freakin-lutely beautiful!!! Can't wait till tomorrow so I can listen to more
Oh Thank you, but please keep listening because I'd say the 1st mov is the worst
I listened to the whole thing..and I have to say it's really great! It's probably a bit pop-like for my taste, but nothing to worry about. It sounds like a movie score, like the one that everyone talks about for a long time!
I think the piano solo at the end of the 3rd mvt is one of the highlights of the piece. It's very effective. From there until the end of the 4th mvt. is my favorite part of the piece.
There is a lot of this that sounds like "Mars" from the planets, which isn't a bad thing, just something to note
Is the celesta at pitch or 8va higher? I think I heard an octave higher, but not sure. I think the celesta could be used in some of the other movements besides the 4th, just because I'm always finding ways to sneak celesta into everything
I think only one thing I might change (and it does involve celesta!) at no. 8 in the 4th mvt, I'd put that celesta line from the very beginning of the mvt back in, almost to make you think back to it, but just as a background little sound that makes it more moving and flowing.
Great work! I'm a little sore from sitting for so long, but it was worth it
I think the piano solo at the end of the 3rd mvt is one of the highlights of the piece. It's very effective. From there until the end of the 4th mvt. is my favorite part of the piece.
There is a lot of this that sounds like "Mars" from the planets, which isn't a bad thing, just something to note
Is the celesta at pitch or 8va higher? I think I heard an octave higher, but not sure. I think the celesta could be used in some of the other movements besides the 4th, just because I'm always finding ways to sneak celesta into everything
I think only one thing I might change (and it does involve celesta!) at no. 8 in the 4th mvt, I'd put that celesta line from the very beginning of the mvt back in, almost to make you think back to it, but just as a background little sound that makes it more moving and flowing.
Great work! I'm a little sore from sitting for so long, but it was worth it
Oh Thank you so much for spending the time on listening to this work, this was my first thingy Graham, I started it when you were 1 year
As far as I know celesta always sound an 8va higher than written, (Glock 2 8vas)
4th mov, No.8 Rehearsal mark ? is just brass....
haha, well get up of that chair and walk, then listen to my newest piece is only 6 minutes, and tell me how much I've improved in a decade.
Thank you very much for your comments, like I said, I plan to do some more revisions, woodwinds in 5th mov mostly.
As far as I know celesta always sound an 8va higher than written, (Glock 2 8vas)
4th mov, No.8 Rehearsal mark ? is just brass....
haha, well get up of that chair and walk, then listen to my newest piece is only 6 minutes, and tell me how much I've improved in a decade.
Thank you very much for your comments, like I said, I plan to do some more revisions, woodwinds in 5th mov mostly.
Yes, Celesta is always 8va higher, just didn't sound like it at the beginning of the 4th mvt.
Yes, but I think adding celesta there will be almost reminiscent of the original theme, which could be interesting.
haha! I shall tomorrow!
a decade, wow...
Yes, but I think adding celesta there will be almost reminiscent of the original theme, which could be interesting.
haha! I shall tomorrow!
a decade, wow...
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i liked your orchestration. there were also nice motives and developments.
and now i'm sorry if i may be blunt in my comments, unfortunately it was quite repetitive, harmony has some good moods but is structured in a very looped manner, and no variation to support it.
i think your sequencing is good also, and you have a nice sense of drama that could be very developed if you'll be more committed to "the cause" which is the make an awesome piece of music what really says something.
it's either you didn't have enough ideas to fill those repetitions, or you were too afraid(?) to "get wild" with ideas. because i think you've captured the feeling of what you were aiming at, and it does what it supposed to evoke, but very superficially. not enough details in your piece to make it sound as if it's alive, and real.
hope that helps.