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Showing content with the highest reputation since 12/15/2018 in all areas

  1. 2 points
    Hi everyone, I've been composing music for 3,5 years, but it was not until recently I decided to start uploading my music to the internet. I've never received any musical education, I had to educate myself. The first piece I decided to upload is the "Sonata for Viola and Orchestra". Please note, that even though it says sonata in the title, I wasn't sticking to any particular composition form. I would appreciate any feedback you can give me on both my orchestration and composition and your thoughts in general. For the story behind the piece, you can check the description of the video attached here. My idea behind this composition was as follows: The motif that represents life gets introduced in the first part of the composition in a major key (0:00-0:56). Then the piece switches to a minor key and a "loss" motif start playing by a solo viola, representing the losses during the war. After the second repetition of the motif (1:00-2:24), the life motif comes back now in a minor key representing that life has changed for the worse (2:24-3:15). The loss motif is then repeated again and the piece concludes on an unstable minor add9 chord to show the uncertainty of the situation (3:15-4:30). The piece: https://www.youtube.com/watch?v=S4jGyzvWlmY&lc=z221wrhqgxznjvopt04t1aokgbir4xpajzdb5agsljhlrk0h00410 The score is attached here Edit: Uploaded the piece here as well. For the history behind it, you should still check the link Edit 2: Replaced the previous pdf file with the new one, since I found some mistakes (had incorrect crescendo markings around bars 10-11)
  2. 2 points
    Sinfonia Concertante in C for Oboe, Bassoon, Fortepiano, Violin, Violoncello, and Orchestra. One movement in three parts: Allegro spiritoso – Andantino grazioso – Tempo primo Scoring: Flute, Principal Oboe, Oboe II, Principal Bassoon, Bassoon II, 2 Horns in C, 2 Trumpets in C, Timpani, Fortepiano, Principal Violin, Principal Violoncello, Strings Composed: January 10 - March 10, 2017 Commissioned by Billy Traylor, Director, Austin Baroque Orchestra. The Sinfonia Concertante is a form that had its heyday of popularity in the second half of the 18th Century. It is essentially a concerto for two or more solo instruments (five in this case) with orchestral accompaniment. It is considered to have emerged from the concerto grosso of the Baroque period, and is a cross-over form incorporating elements of the concerto and the symphony. Ordinarily, as with the concerto and symphony of the same period, it is in multiple movements, usually three or more. However, the present work was conceived as a single-movement work in three contiguous parts, contrasting in key and tempo (similar to an early opera overture) at the request of the commissioner, who also requested that the entire piece be less than 10 minutes long. As is often the case, all the principal players play ripieno with the orchestra when not performing a solo part, and likewise the fortepiano plays figured continuo when not soloing. The instrumentation is nearly identical to that of the Sinfonia Concertante in B-flat (1792) by Joseph Haydn (1732-1809), the addition of the concertatofortepiano being the only difference - again at the request of the commissioner - and I studied that work extensively before and during the writing of this piece. Perhaps the most famous example of this form is the Sinfonia Concertante in E-flat for Violin, Viola, and Orchestra (1779) by W.A. Mozart (1756-1791). There is a lot going on in this piece. Not only is the form condensed, but much of the time the texture is such that there is a very active quintet layered on top of an orchestra, as if it were a chamber work and an orchestral work all at once. I found the feedback I got from the soloists during rehearsals very interesting indeed. The oboist complained that I called for E and E-flat above high-C from him, which for a skillful player should be doable even on a period Classical oboe; and in fact he cracked both of them in performance. The bassoonist was thrilled with her part, saying that what I had written was not only reasonably playable, but very idiomatic for the instrument and a lot of fun to play. The fortepianist (who played my own Peter Fisk fortepiano for the performance) had nothing to say at all, but I got a sense that perhaps his part wasn’t demanding enough, because he was often tempted to rush the tempo. The violinist and ‘cellist both got after me for taking them too high without adequate preparation, which I found very strange; being a string player myself, I know for certain that any player worth his salt should be able to jump to a high position and begin playing without having to be led up there through a series of position shifts, even in 18th Century music. At any rate, I was not persuaded by anything I heard from the players to make even the slightest change to the music, and with a knowing smile I nodded and expressed condolences where necessary, but did nothing to assuage their discomfort where there was any. It is a concerted work after all, and meant to be challenging – and if Mozart had written it, there wouldn’t have been a peep out of anyone. This work was premiered on May 26, 2018 by the Austin Baroque Orchestra – on period instruments! It was my first performance of one of my pieces to have been performed by such an ensemble, and it was most gratifying. I have been trying to get a live recording of the piece ever since, but the Director is hesitant to give it to me because there were a few mistakes made here and there. It was an excellent performance, nonetheless, but he’s a perfectionist. I’ll keep after him! In the meantime, I hope the present electronic rendering will serve. Enjoy, and by all means let me know what you think. EDIT - I managed to obtain an amateur recording of the Austin Baroque Orchestra performing this piece, so I am replacing the electronic rendering I had attached here with it. It's not the greatest quality recording, and there are more problems with the performance than I remember there being (not the least being that in this, the second performance in San Antonio, the timpani were missing), but it has electronic rendering beat, and it gives a good idea of how the piece should sound with live instruments - and instruments of the period to boot. There is a bit of silence and tuning at the beginning - just wait it out!
  3. 2 points
  4. 2 points
    You still use repeat signs, but either add text above the affected passage that says, "4X," or "repeat until directed," or something like that, or you can use a first ending bracket at the repeat sign, but instead of being marked, "1." to indicate 1st ending, it will be marked, "1., 2., 3., 4.," to indicate 4 repeats before moving on to the next section. You can also indicate different treatments for each of the repeats in text above the affected passage. For example: 1. p, 2. ff, 3. mf.... Hope that makes sense without pictures.
  5. 2 points
    The way I've usually seen it in scores and parts is a repeat sign with 3X above it for 3 repetitions, 4X for 4 repetitions, etc. I'm not familiar with Reich's scores so I can't tell you how he does it, but it wouldn't surprise me at all if it were all written out.
  6. 2 points
    Before this degenerated into rancor, there were many good points made on a subject that is difficult to unravel, especially in cyber space. But there was already agreement in some areas, the finer points a which got lost in cross talk. Thanks for your efforts!
  7. 2 points
    I'm of the controversial opinion — and I'll die on this hill — that the arts, western music included, have long since reached their highest possible standards. I will argue that paintings by the likes of Michelangelo and Da Vinci, sculptures such as David or The Rape of Persephone, western classical, baroque, romantic, folk, etc. music, and so on were and remain the best examples of their respective mediums. They exemplify the mastery over their respective crafts that one ought to aspire to. And this is obvious in the fact that these works continue to stand the test of time as being considered the all-time greats. They still have this appeal to people, hundreds of years later. Here's the thing about reaching a high standard: The only way to truly be "original" from there is to do something that defies this standard, and the inevitable result of abandoning that paradigm is a lower standard. In the contemporary sense regarding film music, John Williams, Goldsmith, Silvestri, Korngold, etc. are still seen as the gold standard. Their music for Star Wars, Back To The Future, whatever...they're the most popular orchestral pieces of the 20th and so far 21st centuries. Why? Because they are reminiscent of, and in many cases directly lift from the standards established in the romantic era and before. "Batman Begins" or the scores to most of the Marvel movies, are absolutely NOT of that standard. They work for what they are, but what they are is vapid, empty pieces of music to accompany vapid, empty films. The only piece most people can recall any melody from in the entire franchise, is the "Avenger's Theme"...composed by Alan Silvestri. These kinds of works, will — and I'll argue already have — fallen by the wayside if not be forgotten entirely in time. The MCU, much like the band KISS, will be remembered more for their record-breaking sales and furthering of unabashed consumerism of the day than any actual artistic or cultural worth. So what to do about originality? Concern yourself with living up the high standards of yore rather than being unique. The obsession with being "unique" is actually a lie anyway, one which is symptomatic of society's post-enlightenment shift away from seeking to cultivate virtue and wisdom by understanding what we ought to love. It's fine to love trailer music, but you ought to love the works of Mozart or John Williams more. Otherwise, what you wind up doing is trying to convince everyone else to conform to the idea that your music of a lower standard, is actually just as good as any of the greats because you feel there is no inherent meaning in anything other than that which we choose to impart on it. So I agree with Coleridge about the waterfall: The waterfall is, and has to be sublime — not just "pretty".
  8. 2 points
    This is an interesting scenario. I've done both things (written for specific people, and written stuff without anyone in mind,) and I think that the most important thing is that if you're writing for specific people, they should know and you should tell them what you're doing to some degree. You should be very familiar with what repertoire they can play well and what's their overall technical level. I've had mostly good experiences with this as people I've written things for trust me enough to let me do whatever I want, and it's worked out pretty well. However, you can't count on that being the case and it could as well be that they can put restrictions on what they want you to write, etc etc. If it's an outright paid commission, then sure it doesn't matter that much that you cater to their wishes since a job's a job, but in my experience I've always done things in a way where I have the freedom I need to do my thing first and foremost. However, I understand that may not be always possible or reasonable. The best way to go about it, in my opinion, is to write for no specific person and write what you actually just want to hear. Then, after you've written the piece, see if there are any comments on possible changes or interpretations that you may be willing to compromise on. I think this gives off the best impression of you as composer since you are sure of your work but at the same time you are open for suggestions, just remember that you are the boss in the end, with all the responsibility that entails.
  9. 2 points
    I love Mieczysław Karłowicz (1876 - 1909), he was a Polish composer and he died so young because of an avalanche when he was in mountains. I praise his Violin Concerto in A major and symphonic poem "Odwieczne pieśni". I am very glad you've put Vasily Kalinnikov on your list, if only he had lived longer... but what he already composed is amazing
  10. 2 points
    Well, here's an interesting discussion. Would that they were not so rare these days! To answer the original question, most (but not all) of my music falls within an immediately identifiable historical style. Within the fairly narrow confines of that style, I invariably try to do certain things differently and uniquely according to my own sensibilities, while remaining as faithful to the style as possible - creating something new with old tools, as it were. I've been told this gives much of my historicist music a flavour that is uniquely my own, and I would like to believe this is true. It is certainly something I continually strive for on some level as I compose. There would be little value to my self-expression in this manner were there nothing about it that is mine, and mine alone. That said, it is not of paramount importance to me that my personal expression is as unmistakable as that of Beethoven, for example, only that I have been at once true to the historical style in which I am writing, and to my own artistic sensibilities. Likewise, in my "modern" voice, I follow the dictates of my own sensibilities in hopes that what results is something that is my own unique expression.
  11. 1 point
    Here I have one of my composition assignments. The task was to use a famous musical quotation; here, I use it rather transparently, but if unfamiliar it is Erik Satie. Moreover, it had to be about two minutes long. I plan on writing multiple miniatures: this, the first. Much of the inspiration for the name -- sculpture -- is in my own paradigm toward composition; I think of it as like the act of sculpting and in very visual fashion, associating music with color. Enjoy! (I left it in concert pitch for ease of reading)
  12. 1 point
    Hello everyone! Here's my new chamber music work, "Adventure Ouverture" for piano quintet. It's a small homage to adventure film music and film composers (Korngold, Williams, rota). Hope you like it!
  13. 1 point
    Hey Guys, Do you know old silent movies, like Nosferatu? This is my favorite scene from the film, and I decided to make an own music for this scene. If you like my soundtrack, share it and like it! Don't you want to miss my next track? Follow me on Facebook! https://www.facebook.com/olivercomposing
  14. 1 point
    Here goes my new piece (inspired on Barroque Music) Instruments: Oboe Solo, Violin Solo, String Orchestra and Harpsichord if you liked, you can also hear:
  15. 1 point
    Hello everyone, I wrote this piece in late 2017 and back then I didn't know much about harmony, but I think this piece kinda shows one of the styles of composition that I'd like to continue in the near future. Hope you like it. Please let me know what you think about this piece.
  16. 1 point
    I came to this site from tantalizing little bits of information about J. Lee Graham and the first post I find knocks my socks off. Sir, this demands to be played live and with a audience in attendance. Well done sir. Weill done!
  17. 1 point
    Hey! The Kansas City Symphony (the symphony orchestra of the town I am from) just performed this symphony a few weeks ago. The last movement is very cool.
  18. 1 point
    This is a really great piece, congratulations. I think it's really hard to compose in the style of the classical period without quoting Haydn, Mozart and Beethoven.
  19. 1 point
    I find it Eerie music and Adventurus too! Good work artist Olivér Kovács !
  20. 1 point
    I haven't seen the original work, so I'm just looking at this as a concert band piece. I think the opening develops too slowly - I think it would sound better if four bars were cut out and the vibraphone came in at bar 5. I found the glock/oboe rhythm at 96 quite interesting. If you were intending this to be played by a real band, I would kind of recommend just having the glock play it - the reason being it's a very hard rhythm to play, and even I would probably find myself very slightly fudging it. Which would be fine if I was the only player with it, but two players fudging the same unison rhythm can end badly. Another thought I have is that it doesn't seem like it changes enough. You've got plenty of tempo/rhythmic variation, and you change up the chords, but you don't have any dynamic variation and you often use the same combinations of instruments. These things will come more naturally to you as you get more experience in writing - an idea will come with a specific sound/dynamic/colour in mind. You're also generally using the full range of registers available within the concert band - more ideas for variation would be using only the high register or the low register.
  21. 1 point
    I'd like to take a look at the score, but it definitely sounds nice, and sounds appropriate for the time period.
  22. 1 point
    I decided to go onto cpdl.org today for the first time, I was so overwhelmed by shear amount of texts available, which was nice since I had been struggling to find a text to write for. Well I found this one, and it was pleasing to read so I decided to make a (hopefully) pleasing to listen to piece. Its a pretty simple melody, but the harmonies get a little interesting at times. When judging my piece, if you could have a focus on, my harmonies and how effective they are, whether or not my bass part at 22-25 is too difficult for such a simple piece, if the tenor and bass crossing on measure 7 is acceptable and also if my piano reduction is good the way it is rn. Feel free to mention anything else you feel like, I wanted to set a guide on things I'm not certain about in this piece.
  23. 1 point
    I appreciate that you are branching out into other moods of music, though. It’s especially beneficial if you’re not used to it — getting out of the comfort zone is good. Making nothing but depressing music gets old after a while, too! The opening theme is ok, but the voice leading and blocky chords are big issues that hamper it. I think that’s why you find it “cheesy.” For example, in the opening 3 or so bars, it’s clunky to have this melody accompanied by chords that are always in their root position. In mss. 6 and 7, the L.H. thirds jump around all over the place. Try not to force the music, but rather, let one thought lead naturally into the next, and it will begin to flow how you want it to. The triplet sections are better. (I especially like the little grace notes in mss. 15 and 21.) The idea of having the more “solid” opening contrasted with a lighter staccato section is good and makes perfectsnese, it’s just the execution of the opening that needs work. This was neat to listen to — thanks for sharing! 😌
  24. 1 point
    A very exciting and well-composed work; the music painted a very vivid conceptualization. The textures are very fluid and organic. Nice job!
  25. 1 point
    Hi everyone! Just wanted to share a tune I've been working on the last weeks. Tried to make a light and easy theme with elements of something cold or frozen maybe. I know it's very short but I like making these short tunes as a learning tool for improving my orchestration and mixing skills. Any comments?:)
  26. 1 point
    Nice choice of harmonies/scales/modes! I'm not sure I follow where the melody is, though. I understand the repetition of tri-tones as an idea, but I never picked up on a clear intervallic or rhythmic motif otherwise. The closest I felt to hearing something like that was around 1:50. Keep working! 🙂 Gustav
  27. 1 point
    Thank you both for your comments! You're right Ken320 I'm stretching too much. Great idea about punctuation as fuel.
  28. 1 point
    Thank you very much, @J. Lee Graham! I'm very happy that you enjoyed my piece and playing! I, too, am one of those who think that keys have personalities. I think that each key has its own emotions that are intertwined within its scale, even if all major and minor scales follow the same patterns. And I agree with your sentiments of E-flat minor: your description is apt for that key. At the time of writing this piece, I wanted to try writing in keys that aren't commonly written for, in this case, E-flat minor. Yes, indeed, Rachmaninoff was a major influence on this piece. Rachmaninoff is one of my heroes in music, and this was becoming apparent around the time of composing this piece. Again, thank you for your compliments and appreciation. It means a lot to me. All the best, Theo
  29. 1 point
    @Noah Brode Thanks for listening and commenting, Noah! I really appreciate it! I'm very glad to hear this. Holding attention with this kind of material is a challenge, and smooth modulations can be tricky, but I think I was able to pull some good ones off. My favourite is the one from C to E-flat near the beginning. I'm so glad you enjoyed all that fluff I threw in! I had fun with that, and learnt a lot. I had never written for glockenspiel before, and it was an interesting experience. I tried hard to make this piece sound as fun and festive as possible. I think you're right, I could have done more of this. Viennese-style waltzes do indeed tend to be somewhat violin-centric affairs; but the masters in this style do toss the tune around more than perhaps I did. I used the 'cello a lot in this, actually, but for some reason, no matter how high I put the volume on them, the 'cellos never really come through. Neither do the double basses, and they really should, because traditionally the bass line is in the double bass throughout, and it needs to be strong. Something I'll need to work on with my software. I believe those places are where Finale threw in an error and screwed me over...I mentioned it in my opening comments. I can't seem to delete these aberrant time signatures, so I'll probably have to redo the entire score (I probably should anyway). I'm sorry they were confusing. Yes, Finale has its challenges and it's not perfect, but a few of the things it does well, it does very well indeed, and "human playback" is one of those things I've been very happy with more often than not. The "Viennese Waltz" setting is particularly effective. Let's say that it's not without precedent. A very famous example of one with an extended introduction in duple metre (cut time) is Johann Strauss II's "Kaiser-Waltzer" (Emperor Waltz) Op. 437 (1889), which opens with a slow march. Similarly, Franz Lehár's "Gold und Silber" (Gold and Silver), Op. 79 (1902) begins with a short march section in common time. It was these examples that gave me to believe that I could get away with one myself. Not all Viennese waltzes begin with an introduction, but many do; I believe they served as time intervals during which dancers could catch their breath, check their dance cards to see who had the next dance with them, and so forth. Again, I really appreciate you listening and commenting to such extent. I had begun to make peace with the idea that nobody would, which makes your review an especially pleasant surprise. Thanks again!
  30. 1 point
    Nice jazzy sound, and classic.
  31. 1 point
    It seems you misunderstood me. Never talked about progress for progress sake, but progress for art's sake ( meaning art as description of beauty, if you want ). I would never treat my audience as idiots. But if I compose something, better keep in mind the way people today " receive" music...2/3 minutes tracks, lyrics and singing, very high volume. If I want to be sincerely appreciated I must keep in mind this thing are lowering the "listener's quality...so I have to deal with them. I agree with yoy about the desperate ways to create originality and new standards, and I also agree with the uphold prior standards solution...but this is a theoretical idea...now we have to find the correct way to applicate it. Alma Deutscher fills the concert halls because she is a child prodigy...not because her style. There are tons of composers that use her language but no one has the enormous success she has...the difference obviously is in the age of composers. If maybe we would come back to those times were new music was composed with the aim of being played, we could have better times. Think about it...before romanticism music was composed because people needed something to play. Maybe playing ( mainly )dead people is what keeps us back. Just throwing there some ideas for the sake of discussion...no thesis here.
  32. 1 point
    The tonality you've chosen is fine. It has value and can be developed. But you're stretching the limit of that ostinato. So with that in mind there are many things you can do to add interest (if you don't mind a little back seat driving). First I would begin to alter it much earlier in the piece and introduce some sort of punctuation from other instruments here and there so that it can continue. Think of the punctuation as fuel. You can then invert and/or transpose the ostinato along the way. And you can pass it off to other instrumnets. Just some suggestions off the top of my head. Keep working on it. It's good.
  33. 1 point
    I don't really know what to say. This is a spectacular work. The instruments are interesting and blended perfectly. Certainly, your decades as a composer have been worth it.
  34. 1 point
    @sshn I see what you’re talking about. In the “Sicut locutus est” example you cite, Bach has chosen to force a kind of tonal answer (where a degree of the scale is altered) because it works well for what he was trying to do, I believe. As I understand it, tonal answers are only mandatory (if that’s even the right word to use) when the fifth degree of the scale is present near the beginning of a subject; for example, if the subject (in C major) is C G E C, then the answer would be G C B G, rather than G D B G. Does that make sense? Otherwise, I believe tonal answers are discretionary. Tonal answers and the rules governing them are the source of a lot of confusion. In the Fugue Crash Course I wrote and posted here many years ago (on the unlikely but very familiar subject Ah! vous dirai-je, maman, or “Twinkle, twinkle Little Star”), ideally, I should have done a tonal answer since there is blatantly a fifth degree of the scale near the beginning of the subject; but my purpose was to illustrate the basics of fugue writing, so I left the subject alone so as not to cause a lot of confusion. I may rewrite the exposition with a tonal answer someday though, just to be correct. In the case of your subject, I don’t immediately see that you have any choice but to write a codetta to modulate back to the tonic in the answer. I’m almost certain you don’t have to write a tonal answer, and It seems to me that a forced tonal answer would adversely affect the integrity of the subject in this case. Just my opinion, but that’s how it looks to me. Let me know if you have any questions, and by all means, if anybody else has a different understanding on the practice of tonal answers, let it be known!
  35. 1 point
    A waltz I wrote recently, based upon an idea I've had a very long idea. Comments, thoughts, criticisms all appreciated. https://app.box.com/s/unxi7fy67skb4p6cxu6jcxk7ff5dbvsk (Music file) https://app.box.com/s/sxyj3ygiv1ofz38enylk8gq33nrh8emg (PDF file)
  36. 1 point
    Cool then, show me, with scientific peer-reviewed literature, that "some works are really better than others." Make an actual argument based on scientific sources. That's what I expect from such a categorical claim, since it's a pretty big thing to claim as being "the truth." I think it's pretty cute you're trying to play me as a postmodern pushover, but no, on quite the contrary, I do value objective empirical evidence for things quite a lot. In fact, I value it so much that I try to keep up with the science literature on the things I want to know about. (I even posted some of it to the forum since I actually want people to read and inform themselves so they can properly argue things, it's more fun that way!) That being said, not everything can be entirely objective, which apparently is a problem to you for some mysterious reason. Argumentum ad populum. I mean, really now? That's almost highschool grade stuff. I think it's pretty hilarious you're trying to "get at me" by trash talking my music, you're going to have to do much worse than that. It's also really cute how you're like "Man I don't want to do this but you forced my hand!!!" oh please, that's really childish. You could've as well said I'm a talentless hack or an idiot or whatever other standard insults and it would've saved you the time and effort to actually listen to my music! That being said, thanks for listening and giving some feedback, I guess. In some unintentional way you actually did something nicer than you intended, which is also pretty funny. This is actually kind of amusing, if you want to keep going I'm all game. I'm also not from Germany and German is my 4th language, but hey that's neither here nor there. The glass houses quote is neat, specially since I don't live in a glass house, I live in a goddamn volcano lair for all you're concerned. Try harder, seriously. You gotta do much better than this.
  37. 1 point
    I really like the harmony in this work. Great job!
  38. 1 point
    @Theodore Servin Where has Chesnokov been all my life? Wonderful piece, and I do very much enjoy Russian liturgical music. I presume you must have heard Rachmaninov's "All-Night Vigil" or "Vespers" from 1915...one of the last great masterworks of Russian liturgical music before the Revolution put an end to it all. I enjoyed the Kuula too, with all that delicious chromaticism and the parallel major thirds in a minor mode. He reminded me of Grieg in spots, but his is certainly a very unique voice. I wonder how many other Finnish composers there are from this period that don't get their due. Sibelius doesn't seem to leave room for them.
  39. 1 point
    @Theodore Servin I personally think Stanford is amazing. Check out his symphonies and Irish Rhapsodies for the full English Romantic orchestral treatment. For a tidbit of one of his finest pieces of church music, here's a fine performance of his "Beati quorum via" for 6-part mixed chorus a cappella with scrolling score: The first time I sang that motet as a young chorister, I wept for joy - no lie. Agreed about Rheinberger - an apt description indeed. One of my favourites of his is the "Abendlied" (Evening Song), again with scrolling score: If you get a chance to listen to these, let me know what you think! --Joe
  40. 1 point
    Thank you responding, @J. Lee Graham! I suppose I should give some introductions to my list, as you have done with yours. Viktor Kosenko (1893-1938) was a Russian-born Ukrainian-Soviet composer and pianist. He wrote for almost every genre of music, including concertos and piano music. He is probably best known for his Passacaglia in G minor for piano, a magnificent work of epic proportions. Even though he was around during the Soviet era, he mostly wrote in a late-romantic manner. It's wonderful stuff to listen to. Toivo Kuula (1883-1918) was a Finnish composer. He wrote mostly songs and chamber music, and has an unfinished Stabat Mater. Personally, I love his massive Piano Trio in A major, particularly the 3rd movement. It's some very emotional and passionate music. Unfortunately, he was killed at age 34 from a scuffle with a drunken soldier at the end of the Finnish Civil War, from a gunshot wound to the head. Wilhelm Reinhard Berger (1861-1911) was a German composer, pianist and conductor. He was a very prolific composer, have completed over 100 opuses, although much of it remains unperformed. I consider his Piano Quintet in F minor to be among the best piano quintets ever written, and, like Kuula's Piano Trio, is a huge work, lasting roughly 50 minutes. A criminally underrated genius, in my opinion. Giuseppe Martucci (1856-1909) was an Italian composer, pianist, and conductor. He was the first Italian composer in decades (if not centuries) to not write an opera. His output includes 2 symphonies and piano concertos, and much chamber and piano music. It's very sophisticated music, and is definitely worth checking out. Vasily Kalinnikov (1866-1901) was a Russian composer. His life was a tragic one, to say the least, having been impoverished most of his life, and dying at aged 34 from tuberculosis. Probably his best known works are his 2 symphonies, both of a fresh and magical quality, with touches of Russian nationalism incorporated in the music. Wladyslaw Zelenski (1837-1921) was a Polish composer, pianist and organist. If at all, he is probably best known for his chamber music, including his Piano Quartet in C minor, an excellent work, that I would highly recommend to any chamber music-lover.
  41. 1 point
    This is a piece which I wrote in december. The theme is a polish christmas carol "Gdy się Chrystus rodzi" (When Christ is born). MuseScore performance of dynamics in 3rd variation isn't good :/ but you can use your imgination ;D Let me know what you think!
  42. 1 point
    Thank you! @J. Lee Graham actually the only reason I started the fughetta in c major was that I wanted to begin with 2nd violin and I thought F major would be either too low or too high. This forced me to insert these four bars (91 - 94) which don't sound good to my ears, but I didn't know what to do :/ @Theodore Servin Thanks! the piece was performed by me and my friends but unfortunately I don't have a recording
  43. 1 point
    So your later education spoiled your affinity as a composer for an historical style? That's tragic. I never finished my degree because I perceived that my professors were not going to let me be the composer I wanted to be, but I have always regretted not sticking it out. I usually advise young composers to go ahead and study composition, learn what they teach you as a body of knowledge, write what they tell you to write, but do your best to remain true to who you really are as a composer, whatever that may be. If the system brainwashes the student to the point that that's not possible, even in a few cases, perhaps I should reassess that advice. I'm sorry for your experience - from your tone, I can tell it has embittered you somewhat, and I can't say as I blame you.
  44. 1 point
    Interesting. I'm often sceptical of such studies as my first question is what they seek to achieve in practical terms. Some application is fairly obvious but trying to understand the perception of music is always going to be fraught with problems. Whether you attempt analysis with scientific method or the softer approach of semiotics you hit problems straight away as you're dealing with individuals. And if there's one thing that psychology can't get at it's an individual's raw data, having to rely on anecdote and social norms and things. Even phsyiological psychology still has to treat the individual as a "black box". I did read the papers and had comments on both which would take rather a lot of space to list. #1 raised more questions than answers: narrow, relying on music attempting to communicate emotions (and fairly basic emotions at that) - not all music aims to communicate emotion. It speaks of universality but I think we already knew of that. An aficionado of Far Eastern or African music will be well aware of these regions incorporating western styles particularly in popular music. It probably appeared in the Far East thanks to interest in "classical music" (particularly Japan but also Hong Kong) brought in a century ago when these countries opened up to the west. In Africa probably through colonisation. Japan created westernised orchestras across the last century, sent its music students to Germany, France, the UK and the States. [Edit]My far and away favourite Bruckner conductor was Japanese (alas now deceased). The second paper interested me in that it extended questions raised in Die Reihe, a series of periodicals from the 1950s but addressed more by musicians than scientists but who were nonetheless engaged in all aspects of the avant garde. Even so, Eimert did an excellent piece in Vol 6 Sprache und Musik, about information theory and communication - bordering on what became semiotics. It's the source of my interest in semiotics. However, semiotic research re music is probably wasted effort. Although music does contain quasi-linguistic elements they're too vague and the cultural/philosophical pressures external to the music itself are in themselves complex. So trying to relate sign to signified will never be more than hypothesis. More in the line of philosophy and what reality is about? I noticed both papers emanated from Germany. What we need now is research into whether and how symbolist music communicates a mood/picture. Does that have universality? An interesting topic.
  45. 1 point
    One of the things found in all the research is that, since you can get emotional responses out, well, basically any kind of communication (languages you don't understand, noises, whatever,) you can argue that the degree of "understanding" you have of a language just allows it to trigger finer and more nuanced responses (expectation breaks, comedy, etc, all that.) The "problem" of something like serial music or any kind of music that is "random" sounding enough that it makes you default to basic responses is that it can't immediately engage you on the level of stuff that you're familiar with. This obviously changes drastically the more you expose yourself and familiarize yourself with different kinds of musical languages. One thing that happens when you ARE familiar with the musical language, enough to have actual expectations, is that a curious things starts to happen which is that music that constantly breaks expectation is more "interesting," or "pleasurable" to listen to, but the break has to be just right. Too tame and it doesn't excite the brain centers enough, too harsh and it pulls you out of it. This kind of expectancy "curve" is what drives a lot of music composition from all sorts of people, Beethoven, Bach, you name it. They did it, obviously, purely on intuition, but we know now that they were "guided" by how the brain actually perceives those breaks in expectation. There's a lot to unpack in this theory, but I've been investigating this subject for the last 10 years, I think it's amazing how much we have discovered. Additionally, this can apply to any musical language, all it takes is enough consistency and familiarity to develop expectancy. Here are two papers you can read that back up my statements: http://www.stefan-koelsch.de/papers/Fritz_2009_CurrBiol.pdf and http://www.stefan-koelsch.de/papers/Koelsch_2008_ERAN_EDA_music_meaning_syntax_emotion.pdf There are a bunch of other papers that go in depth into both things, usually with new studies and some new insight, but these are good starting points. You need to brush up on some neurology to really understand what's going on in the brain itself, but you can get a pretty good idea of what's going on even if you just look at the graphs.
  46. 1 point
    Here is an [ongoing] list of classical music professors who compose/improvise tonal music. Some of them are from Europe, but because the percentage of teachers who teach and write tonal music is so small, I'm including anyone who fits the bill, even non-Europeans. -Morten Lauridsen, professor of composition the University of Southern California Thornton School of Music -Michael Gees, professor of improvisation and composition at the Cologne Conservatory -Georgs Pelēcis, professor of counterpoint and theory at the Latvian Academy of Music, also the first president of the Riga Center of Early Music
  47. 1 point
    Well this is an interesting discussion, @Ken320. I'm sorry to have missed it when it was new. When I started writing 'concert music' or whatever a few years ago, I was writing in what I now understand to be a terrible perversion of the Classical style. This is mainly because I had just fallen in love with that style (cuz that's what they play on classical radio stations). Since then, most of my scraggy has taken on a more Romantic or Impressionist style (though still pretty mangled), with wider-ranging techniques. It's kind of ludicrous for me to say my music has a distinct voice, since there's so little of it altogether and my grasp of theory and orchestration is still ... in development. My audience is so miniscule that I doubt any of this matters (yet, I hope). To the point made by @Monarcheon, I'm certainly guilty of stealing techniques from things I hear and read about online. I suspect most of us are, whether that's from a website or a classroom. I think the challenge is using these techniques well and responsibly. Polychords, secundal clusters and stacks of fifths all play into my latest piece because I read about them on one website or another. I do try to fit them into places where they make sense aesthetically or dramatically. To be fair, though, the entire history of music is full of people making subtle adaptations or innovations to the existing body of music theory, and borrowing the rest from those who've come before. I think the current conception of artists and composers as solitary geniuses who must offer radically original works (or be considered worthless) is a relatively new concept in the history of art and music. I think in the past, there was a lot more admiration of technical mastery over pure originality. I'm interested to hear others' takes on this, though.
  48. 1 point
    Like all your pieces, this is brilliant! I love the way you handle the relationship between the clarinet and piano. One of the things that I really love is how you appreciate the fact that the wind player needs to breathe, and your music's natural phrasing fits this requirement perfectly. Now, I only wish I was a clarinetist! Great job
  49. 1 point
    I appreciate the live rendition, and incidentally, the visual filter you used fits the somewhat Impressionistic style of the piece. Cool! Definitely better than the midi version. Part of the appeal of this piece is more the feel of the reverb and echo of the progressions, rather than only the notes themselves, if that makes any sense, so I'm really happy you put up a live performance. I think you really did a great job with the atmosphere, it's captivating. However, I think the B section at the about 2/3rds way through was a little bit too much. The L.H. is too loud and repetitive, and I think it bogs down the atmosphere rather than giving it another dimension. Maybe try adding softer dynamics, like mf, so that there is some cresc., but not too much so that it sounds over-dramatic. And as interesting harmonically as the beginning and end are, I think the B part should have more interesting harmonies in the L.H. too. But that's just my 2 cents. Thanks for sharing, this is a really neat piece. 😄
  50. 1 point
    Very nice! You both must be pretty proficient players. The keys you've chosen are kind of icky for the saxophone, if you ask me, but as long as your sister is not complaining! Good job!
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