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About almacg

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    Seasoned Composer
  • Birthday 09/03/1987

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  1. I was recently invited to participate in a festival in Yerevan, Armenia for which I wrote this piece. It was inspired by the artwork of Nana Aramyan (which you can see in the background of the video) and performed by guitarists Joao Lima of Portugal and Lilit Maridyan of Armenia! Hope you enjoy the work! If anybody is interested, a similar event will be held in London and there will be an opportunity for composers to submit new works. Feel free to ask for details! Alex
  2. your flute piece is wonderful.. really :)

  3. But if you went to a generic classical concert and got performance after performance of Miles Davis/random jazz you might be disappointed and vice versa. I think it's actually extremely helpful and useful to categorise... Surely...!? I wouldn't be offended if somebody categorised my piece as romantic/classical/jazz etc.. what's the deal here?
  4. Fair enough. I don't think we can necassarily ascertain any concrete standard in the evaluation of musical composition, but I personally find memorability to be an important issue. To write a piece that is both complicated and memorable - ie Shotakovich 5th symphony final movement - is not easy. I am not saying all pieces of good music are memorable however. I can think of many pieces I've really enjoyed, where weeks after I can perhaps only remember one or two specific moments. Despite this I think memorability is at least one criteria that isn't governed by massive amounts of subjectivity and is therefore something to at least consider when choosing who is the "best" composer of all time!
  5. Perhaps, I'm not really a Barber expert but his early works are almost entirely comprised of considerably distinct and very well written works. Like Stravinsky he covered a lot of ground, and yet managed to write so fluently, probably in every case. I don't know his later works so I can't really comment on those. You may be right about Holst though, he's a bit of a one hit wonder! I'd possibly consider Puccini or Strauss however..! Perhaps two things to consider are memorability and originality. Often a composer can write a very distinct work, that unfortunately is fairly forgettable. Occassionally however, composers write music that shine out from the rest of the pack and is completely unforgettable almost from start to finish. I think if a composer has written something that matches these criteria than perhaps deserves a place in this thread! Despite the fact that some of the 20th c. composers are only known or remembered for a few of their works, they can be considered in my opinion. Oh and I know we're not supposed to comment on other people's comments, but well... sorry..!
  6. Whoops I forgot about that ol' chesnut.. Ok my list is now : Mars, Jupiter, Saturn, Mercury, Venus, Uranus, Neptune. Saturn is an amazing piece, they all are however...!
  7. It doesn't get performed anymore because Pluto is no longer classed as a real planet! My favourite is Mars, (which is possibly my favourite piece of all time) followed by Jupiter, Mercury, Venus, Uranus and last of all Neptune.
  8. I disagree actually! Mozart, Bach and Beethoven are fine composers no doubt, but look hard enough and you will find some 20th century music you can really associate with. Not only that, but you will find music that is both pleasing and incredibly competently written. (So it pleases both hemispheres of your brain :D) The 20th century has produced it's fair share of 'classics', pieces that will live on perhaps for as long as humanity continues (in my opinion). Holst's The Planets, Barber's Adagio and lots of others (that are unfairly ignored). Debussy, Ravel, Elgar and many more...! I would also consider Tschaikovsky/Mussorgsky (maybe..) and Wagner as candidates.
  9. Didn't Carl Sagan say something along the lines of : We shouldn't include any Bach, that would just be showing off! Well I don't think Morgri was implying that all tonal music was light (although there's a hint of it), and as said before it's not 1950 anymore so I don't think that most major conservatories would frown upon tonal music (at least I hope they don't, time will tell..). Of course you do get the odd professor who says that writing tonally is just a pastiche, but then that's due to their own lack of imagination more than anything else! And to the OP: If you like Schubert, look into similar composers, and try to move forward a bit (in terms of compositional date). *Double checks to make sure he didn't write anything too contraversial...*
  10. Cheers Enigmus! I shall submit a piece!
  11. I agree! Perhaps it may seem unfair to say that one act is greater than another, (or one person's expression) but life is unfair! Infact paradoxically, being unfair is far fairer! To attain such a revered title as musician or composer, should not be easy! It should require work, dedication, meeting certain standards. If we change the meaning of musician or composer to mean "just anybody" then it loses all meaning and that is unfair!
  12. Joaquin Turina, Sinfonia Sevillana! Plus Lemminkainen by Aaare Merikanto
  13. Yep, this is a good idea! Watch some films with good scores, but pay particular attention to the music and how it reflects/reacts to the ongoing action. Personally, I find the best way to write 'emotionally' or at least to purposefully write a piece to a convey specific mood is to develop your own very clear 'emotional understanding' of music. You need to find music instrinsically emotional, that is to say that each note in every piece must convey or imply an emotional stance. I'm not really sure how a person develops such a vivid relationship between music and emotion but once you find yourself in this position, conveying particular 'themes' will become instinctive. Bear in mind however, that not all music is written with emotional authority; the emotional impact is often coincidental and doesn't materialize until a piece is listened to or at least after the notes are conceived. Your own understanding will be personal to yourself, but if you want to convey a particular emotion to a large audience I suppose you need to empathise with traditional musical gestures. Listening and watching a great deal of film scores - taking note of emotional clich
  14. Are fantasias typically quite virtuosic? I'm not sure if I'm a good enough pianist to take part if that's the case, so can the fantasia be fairly easy to play?
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