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Jared Steven Destro

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Jared Steven Destro last won the day on August 19 2019

Jared Steven Destro had the most liked content!

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34 Excellent


About Jared Steven Destro

  • Rank
    Intermediate Composer
  • Birthday 08/19/1998

Contact Methods

  • MSN
  • Website URL
    Twitter: @jsdestro

Profile Information

  • Gender
  • Location
    Buffalo, New York
  • Interests
    Music, Poetry, Sports, and Cooking
  • Favorite Composers
    Carl Nielsen, Frederick Delius, Sergei Prokofiev, Dmitri Shostakovich
  • My Compositional Styles
  • Notation Software/Sequencers
    Finale; Garritan
  • Instruments Played
    Piano & Organ

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  1. @Luis Hernández Thank you for your comment! This work took a good long time, but I am proud of it. No matter the work, I always take tremendous care with it. I wanted to keep it simple and straightforward, and I'm glad you enjoyed the string writing. My time in the Czech Republic is very important to me, and I can always look back on this piece to reflect. Most of the time while writing, I think in terms of tonal centers, and so the phrases tend to be very tonal. With that said, I try to keep the melodic lines free and independent, so I enjoy composing without tonal restrictions. Nonetheless, I have a handful of other, similar projects but I hope to revise soon. Thanks for the feedback. It is always appreciated!!
  2. @Tónskáld Thank you once again for your in-depth comment -- it means a lot! I can find myself having a hard time making such extensive comments on the forum (I most certainly am minimalist in many aspects). Nonetheless, I am glad you enjoyed!
  3. While I am not as familiar with this piece as I am sure you now are, I felt you managed to capture the piece effectively for the orchestra! It certainly felt quite natural. My critique would be to be cautious in excessive line-doubling. For instance, in m. 64, while I understand the rationale in doubling the line of say the first violin, I can envision the woodwinds providing rhythmic accentuation there rather than simply following the lead of the violins (with the second violins following the first, but an octave down, a more resonant logic). The dialogue that you develop between the instruments, mm. 36 - 44 as an example, felt much more liquid and effective. Great job, nonetheless!
  4. I enjoyed this! If possible, could you post the score (it'll help us comment on specifics)? I think you did well with beginning the process of thickening a texture. I think what might help improve this piece would be taking a dense texture and exploring ways to reduce it, then add to it, reduce it etc. Moreover, I think that experimenting more with less regular rhythmic configurations will break a bit of the monotony that can begin to develop; pushing a little further will make it feel less like an exercise. Overall, I think you did a good job!
  5. I really enjoyed this! Suspensions were well utilized, it was orchestrated well (b. 18, for instance), and the length of the piece felt appropriate. At bar 28, I welcomed your inclusion of a sort-of 'connector' between the sections in the second trumpet; perhaps I could have done with more instances of this, though for the chorale-style I certainly understand why you did not (it isn't necessary, I don't think). Good job!
  6. Thank you, Luis! I felt that my catalogue was lacking a set of piano pieces, so I felt this to be the perfect motivator. As for the pieces you mention, the serenade was composed to replicate the movement of the fish in the water -- jerky, flowing, liquid. Occasionally, they kick up sand and create a cloud of uncertainty. The dirge is very different. The notes are deliberately empty, using whole notes and the like to further reflect the feeling of solitude (at least for the pianist who is reading it). It is a stark piece with a measured, cog-like movement. Additionally, I intend for the two pedals to create a compounding effect, in essence, muddying the sound.
  7. @Luis Hernández Thank you for your input! It is those pedal positions that I have yet to understand about the instrument, but I know that I will in time.
  8. Jordan, That would be very nice, and I would love to see what they might think of it as well!
  9. This is a set of pieces I composed in Prague this past autumn. I have revised them several times since, and each movement accompanies a painting by artist Paul Klee (which I have included in the score). The piece is dedicated to a friend of mine from Austria who is very fond of art, and we went to several galleries together (hence the inspiration). While I am pianist myself, I specialize in improvisation in a style very different from this, so any feedback from the pianists would be most welcome! https://youtu.be/ldbzsicGfsE
  10. @Tónskáld Thank you! Unfortunately, I do not know any performers (as I have never had my music performed). Currently, I am revising my catalogue so that I will at least have a medley of small solo/chamber pieces ready to go when I enter my MMus program in the autumn. My hope is that I can then consult with performers, though I have hardly had any luck as of yet. And thanks for noticing! I was, for the most part, very conscious of taming chromatic passages and trying to envision hand movements for the harpist (as much as I could imagine, anyway). We'll just have to see how it goes in the future. This set was composed sort of as a side-project to bide time (that is, I would work on it to fill time between other projects, or when I could not sleep). Thanks again for your feedback :)
  11. Here is a small set of three pieces inspired by different figures in Seneca mythology/folklore! I hope to improve my harp writing, so any tips/advice on that would be greatly welcomed. The colors were used as a reference for myself while composing (I think of music in terms of color), and they themselves allude to the "triptych" I was attempting to create. (The score is left in concert pitch)
  12. Luis, a great piece! The rhythmic variety/gentle offsets in the introductory section were well done. You do well with exploring and balancing the density of your textures. Good job!
  13. I enjoyed the overall lyricism of this piece. At times, like m. 20, I found myself wanting a bit more rhythmic variety, so as to generate a bit more propulsion in the overall line. I can also envision a fuller, even stronger close to the piece (maybe more complete chords, though of course be cautious with playability/indication). In general, I thought it to be a great start, and I can see it going in a lot of different ways in the future (if you add to it)!
  14. I enjoyed this very much! I found it to be fun and well-crafted, with the orchestral color being very well-developed. The transition around 2:50 was very successful, I felt. Great job!
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