Leaderboard

It's like a mixture of classic style and somt ragtime thing in the middle. Catchy but I miss some dynamics and articulation.

Music publishers did, over the course of the last 400 years. It's whatever, you are absolutely right. Ever since the advent of modernism most traditional conventions are open to being retooled, appropriated, and even rejected. I do believe cataloging your work is important, I do as well. However I don't refer to it as opus numbers, because it does seem misleading. It is important to note that traditionally a single opus number could denote a collection of works, not each individually. If a set of pieces was published together it may have a single opus number for the whole set, and then each piece would have a subnumber associated with it. This is generally why a lot of prolific composers didn't have really high opus numbers comparable to their output; most works wouldn't be published at all, especially shorter ones. When shorter ones were published, it tended to be in collections that would all carry a single opus number. My cataloging doesn't fit anything resembling that, so instead of labeling something as Opus # such and such, I simply place the number after the title. For example a title might look something like "Beautiful Love Song (#235)" When I was a kid, I would assign a catalogue number to each individual movement, and then another one to the piece as a whole. This is probably not how I would do it today, but I don't want to break my own conventions at this point, and I don't want to renumber the whole catalogue.

This composition is my third (and up to date, still the last) of "Jeuxes" I composed for wind instruments (1st for flute and piano, 2nd for clarinet and piano). When composing this one I finally "discovered" bassoon as an exciting instrument. The use of accordion instead of piano is because of the commission and I believe this combination sounds perfectly. The piece demonstates my preoccupation with contrasts between simplicity and complexitiy, tonality vs atonality, consonance vs dissonance. Therefore this Jeux is significantly different than its predacessors. Although the piece was completed back in 2008 and received premiere perfomances in 2009 I did not have a proper recording to post here until I discovered the radio broadcast of this piece in autumn 2016, performed by ultra-talented bassonist Janez Pincolic with equally skilled accordeonist Nejc Grm. :)

So in my orchestration class, they must use pencil for the "explosion" process. That is, take a hymn and set it for a saxophone quartet. the process of using the hand forces them to think about the transpositions and it's making them faster about it. After one has a grasp, the computer is fine. Think about it, how many phone numbers do you have memorized? Probably only yours, significant other, and grandma's! Still, either way is OKAY; I just want proficiency!

I had seen him play on the Mezzo TV channel. At the end of a great performance of Tchaikovsky's "Variations on a Rococo Theme", he played that same encore. I agree with you. He is a phenomenal cellist. I had never seen anything like it. I can only imagine what it must have been like to see him at a live concert. The name of that piece is "Lamentatio" as I recall and as the video above mentions in the title.