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This thread must be on top of board like past years so everyone may see it, I don't know if I can add a link there, let me check if not I'll ask Mike.

You forgot to begin your post with: "As a professional composer..."

It also reminds me a bit of the FAE sonata. Each movement was written by a different composer: Schumann, Brahms and Dietrich with the finale by Schumann again. The dedicatee of the piece had to guess who composed each movement. Apparently, he got them all right but I wonder whether his opinions of the piece would've changed if he were to be told the wrong composer for each movement. I agree about the theme and variations, it's a great piece, probably his best. I think his guitar sonatas are pretty poor though but to be fair to him it's hard to modulate effectively on the guitar so maybe he was limited by that, though Giuliani seemed to pull it off a lot more successfully than him in my opinion. Some of Sor's smaller, lesser known works for fortepiano are pretty good though or at least charming if nothing else.

BTW, how many nominations have been submitted so far? I don't think too many people are aware about the nominating process being open right now - a risk that I had pointed out before. It may lead into a certain trend or style being over- or under-represented (despite myself trying to supress any stylistical bias when choosing), and its supporters taking that as a pretext for not voting (I saw that in 2011). Asking for two nominations per category might be a relief, but I'd love to see more people throwing their suggestions in. Also - the moderators can also nominate, right?

I do believe chosing titles has nothing to do with professional level. ;)

I also frequently start to think about the title, when the composition is finished. When I was young (up to 25) I had a mixture of "absolute music" titles and romantic programmatic titles (check my sparkles for two flutes, cello and harp for example). Recently several of my titles refer to social situation in the world. One of the pieces is called "At least five times useful", added with guarateed paper that the value won't expire after all five prelude-like movements are performed - as a mockery to recent creation of electronic devices, which frequently fail to work after their 2-year guarancee expires. I have also composed "Three days" for flute, saxophone and piano, recapturing the restless nature of our living, created in three-movement sonatina form. One of the compositions has the title "Illussion trio", refering to the cruel reality of modern, souless life. Still, I most often write absolute music: Symphonies, concertos, different chamber works with titles refering to instrumental cast.

Thanks for the support! Let's hope the musicians think likewise :toothygrin: - although I'd be more than content if they selected a single movement of it to be performed.

As I have checked these works, I think Austenite's Serenade should be selected, unless it's too difficult for the orchestra. ;) Some of the works should not have been sent, they are not yet even on basic level of quality, though.

Just sent my nominations. Incomplete, but I did my best. ;)

Check out String Quartet No. 2 by Georg Friedrich Haas (pretty sure there's a recording on YT): not very innovative as far as spectral music goes, but it's a good piece to study (and it's easy to hear that approximation is effective here). His 1st SQ is much more interesting but not as....didactic? Btw, if 100 partials isn't extensive enough for you....I have a list of the first 130 partials ;)

I'm writing a string quartet with the violins tuned a quarter tone flat and I'm going to round each partial to the nearest 50 cents so I can use a load of cool quarter tone harmonies that approximate the upper partials of the series. It may sound awful or who knows, it may actually work.

Why would you need anything more than the 7th partial? Just write a big dominant 7th chord and call it a day.

I've attached the first 100 notes of the harmonic series and their relation to the closest equal tempered note. You can calculate cent values for the Nth harmonic using this equation: CENT = 1200 x log N (base 2) Máté harmonics.xls