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Fred Kremer

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About Fred Kremer

  • Rank
    Starving Musician

Profile Information

  • Gender
    Male
  • Location
    Juneau, AK and Las Vegas, NV
  • Favorite Composers
    Bruckner, Dvorak, Vaughn Williams, Andrew York, Joaquin Rodrigo
  • My Compositional Styles
    Neo Classical,
  • Notation Software/Sequencers
    Sibelius, Notion, Reaper, Studio One
  • Instruments Played
    Classical Guitar, Piano, Cello

Recent Profile Visitors

392 profile views
  1. Wow, it really kept my interest. I like the beginning, it has a nice feel and contrasts well with the balance of the piece. Measure 5's slight ritardando contrasts well with the sudden increase in dynamic at the end of the measure. Measures 6-9 add intrigue with measure 9 as a wonderful setup for the variation.
  2. Thank you all for reviewing this movement, and yes the sparse notation is deliberate. What I am trying to achieve with this movement and those that follow is an experience of place, an old growth forest. Quietude, a feeling of subtlety with slowly shifting atmospheres – like the rain forests of Southeast Alaska. The other part of what I am hoping to achieve is allow for more freedom of interpretation by instrumentalists. Those that have some familiarity with old growth forests will sense where the dynamics lay. Another issue I am wrestling with is keeping the volume relationships close, no real dramatic variances. Very little in old growth forests shouts with the exception of woodpeckers and ravens. A brief re-write, of movement 1, the elimination of most violin double stops, the cello and viola double stops I kept as I can address them on my cello and viola fairly smoothly, one of them is a little awkward but doable. The crossed voice I cleaned up a little, I am not so certain I understand the remaining problems with them outside of the violins. Perhaps a comment with measure numbers would help. The complete string quartet, movements I-IV, are included in this post. I am trying to convey a typical day in the old growth spruce rain forest of SE Alaska. Rain is a given as is some wind. I actually used this outline to write the quartet: I The Forest - Andante con affetto Solemn, large almost church like, reverent, sublime II A Light Rain - Moderato Scherzando A slight breeze and then the hint of rain A gentle rain Rain drops falling through the canopy to the forest floor. The rain slows, a brief interlude The rain resumes, slows and quiet re-enters the forest. III The Wind - Leggiero becoming Scherzoso Hints of a wind gently increasing in steadiness and intensity. Rain drops clinging to the trees and bushes create rhythm as they fall the wind gathers strength and sways the top of the forest. A lull, quickly followed by renewed strength in the wind. The wind dies down. IV Dusk in the Forest - Largo Evening, fading light, quietude resumes Recap and nightfall.
  3. Love it! And the title is very fitting to the mood created. I think that I like that there was a lack of consistent resolution, a warning should leave a person somewhat on edge or un-resolved. I would be intrigued it you were to take the suggestion from Alfredo and have the piano and violin trade places at least once if not twice.
  4. Monarcheon, Thanks for the input. I am disassembling the piece and in light of your comment “crossed voices… that don’t serve as any sort of Klangfarbgenmelodie” I think you have a valid point. I hope that when the re-write is posted you will review it. And the new pdf will have the time signature viewable.
  5. I have the privilege and great fortune to spend lots of time meandering through the old forests along the coast of Alaska. Within the last two years I have visited a portion of coast that contains Sitka Spruce trees older than the founding of our nation. One tree in particular, I have been informed, is more than 700 year old. The root structure is huge. Within these forests I often feel as though I am in a cathedral requiring great reverence. This is the first movement to a string quartet I have been contemplating. I initially thought of a chamber orchestra piece, but I think the intimacy of a quartet is more fitting. Your thoughts and critiques are welcome.
  6. I think you have created an excellent feel for the atmosphere of a large bustling city that never sleeps Interesting textures, rhythms and harmonies in contrast and occasionally in agreement very much reflective of the competing sensory demands and interests from large cities. What I find really well done is the overarching cohesiveness. It really defines the experience. The final resolution in the last movement is a nice and appropriate conclusion. This is quite an accomplishment from my perspective. Most important is I really enjoy listening to this work.
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