Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


p7rv last won the day on February 19 2016

p7rv had the most liked content!

Community Reputation

142 Excellent

About p7rv

  • Rank
    Advanced Composer

Profile Information

  • Gender
  • Location
  • Occupation
    profligate man-baby
  • Interests
  • Favorite Composers
    Ligeti, Schoenberg, Bartok, Nacarrow, Ockengham, Dufay, Sweelinck, Frescobaldi, Byrd, Gibbons, Handel, Telemann, (CPE|JC|JS) Bach, WA Mozart, Beethoven, FJ Haydn, R Schumann, R. Strauss, Stravinsky, Grisey, Scriabin, Sciarrino, Hosokawa, Scelsi, M Clementi, Reicha
  • Notation Software/Sequencers
    Finale 2014, Lilypond
  • Instruments Played

Recent Profile Visitors

7,052 profile views
  1. Am I right in guessing these are all orchestra commissions, and that almost none are studied in universities or written about in academic journals?
  2. This topic has literally nothing to do with "audience-friendly"
  3. yup. All I'm saying is that it feels like work, is almost entirely unrewarding, and seldom does anything to me intellectually or emotionally.
  4. I really mean 21st century, although this certainly applies to some 20th-c. music as well.
  5. This strikes me as very wise, however, this only gives us the first step, not the conclusion. I know too many composers, and I know too well how many of them think, to keep myself mired in endless introspective self-doubt whenever I encounter a work that doesn't move me.
  6. Really impressive work. Obviously you're quite advanced, so I'll just give some of my personal impressions. Here are a few quick opinions/ observations: -Good buffa affect -solid themes, classical idioms, attention to detail (harmony, voice leading, etc.), overall very strong work. What is your background in terms of education and experience? -in the opening, I'd want mm.13-18 to be more of a half-cadence then a modulation to V, and then mm.36-44 have a stronger confirmation of the new key, usually accomplished by standing on the dominant for a few measures. As is, it is too abrupt harmonically, and rhythmically to read well right off the bat. -sudden third relation after the general pause at the beginning of development section totally out of the blue and unprepared. Unconvincing. Similarly the coda thing at m.277, m.281, etc., is also a strange, IMO. -the moment of arrival of the recapitulation in Haydn, Mozart, and Beethoven was a significant dramatic moment, and the lead-up was almost always low-energy, a kind of generalized anacrusis. The recapitulation is the new start. You have a build-up, which puts it at the middle of something (I noticed the same in your symphony) -retransition too cadential. The transition in a classical sonata has a 'destabilizing' function, and the retransition, consequently, also must do the same, but by some sleight of hand, instead take us back home. It is a double subversion. If you just write a cadence formula, you might as well just stop the piece right there.
  7. I think I listen to it only as a stepping stone to writing my own. Feels kinda like a pyramid scam. Ya feel me?
  8. Feature request: please allow browsing a user's forum posts and compositions to happen on the same page/ interface, I am always doing the wrong one with no clear way to navigate to the other
  9. One of us! We accept you! Hahahahahahahahahahaha
  10. Reicha's L'art de varier was plundered not only by Beethoven in his Diabelli Variations, but also by Mussorgsky in Pictures at an Exhibition.

  11. Note that due to use of musicae ficta, the difference with Ionian will be very subtle.
  12. First thoughts/ low effort: UNDERRATED: -clementi -pleyel -cherubini -reicha (overshadowed by beethoven) similarly: -non-JS bach family OVERRATED: -mahler -mendelssohn -chopin
  13. Disagree with 9/10. You are correct about Haydn, though.
  • Create New...