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Simen-N last won the day on March 7 2018

Simen-N had the most liked content!

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  1. Hello there! First of all, the style "of" does not exist. The classical/baroque styles are personal to a degree, but most of it is common practice, composition back then was all about skill. Bach was rediscovered in the romantic period, and they look at him trough their own glasses. Not before the last 30 - 40 years have we discovered how big the early music period was, and that there are many composers withing a style. We also know that most people who played at that time, also was a composer. They style of Bach is the late north German baroque, ( same as Jan Dismas Zelenka ). The late north German style had both french and Italian roots, as well as the Flemish and north German tradition itself. Bach-s style is the culmination of 100 years of musical development. Are Bach the most famous and forthcoming composer of the late north German baroque language? I think there are many unknown composers that are just as good. The "style of" is a old term from the time the composer where first discovered. Naturally the composer was credited with the style, and not the other way around. So, to your question. How can you write music in the style you choose, and to make it sound authentic? It's as simple as anything other you have to learn that is hard. 10.000 hours of hard work. The problem with writing in an older style is that its not natural to you mind and ear. When Bach was young the baroque style was all over the place, at home, at school, at church, with friends etc. Today there are many musical languages, and you mind is used to them, and will express it self that way. 1. You have to reset your mind and unlearn what you have learned. You have to make the musical language of the style you choose to be your natural way to express. How to do that? 100% dedication for xx years. 2. As you live and breath the style, you will have to learn the basic principles of the style. You have to build your foundation. 3. Writing music for xx-years. as your skill improve you will study theory, experiment, look at scores, etc. This is how you learn the "shall and shall not" of the style. Along the way I'm sure you will find your style and become your own voice in the parameters of the musical language of your choice. Good luck to you. Keep on composing. Kraus (Mozart 2.0) Zelenka (Bach 2.0)
  2. Hey, nice piece! I'm very happy when i see the old therms like a concerto grosso. As you might know, i am a purist, but i really don't mind combining styles etc. But what I do expect is that the therm follows some of its traditional traits as a base. Like you would expect a fish to resemble a fish, swim and live in the water. Could be a flying fish though , but still it have to resemble a fish to have fish in the name i think. I had difficulties to find the concerto grosso structure here. I can see you have some sort of Concertino and ripieno, but the entire point of a concerto grosso is the contrasts and unity between the two groups, its actually like Piano/forte effect. A concerto grosso is a great tool for orchestration without using a orchestra. I can see form you score that you dont have imitation in mind. Your initial idea is perfect for a concerto grosso. To make the contrast it could have been like this: Bar 2 - 3 in the ripieno Bar 4 -5 in concertino Same material, but different sound and color because of the groups, typical concerto grosso. The same goes for structure. Concerto Grosso is all about the contrast. development at unity between the groups. Use the groups, Luke, the groups! May the force of corelli and stradella be with you.
  3. Mr Graham, this is just amazing! I have tryed many times to write vocal music in this style, only to fall big time! Your mastery of the style is very impressive. The music is beautiful, melodic and meditative combined with good counterpoint. All the movements are of excelent quality, but for me the gloria was special. The 2 part section with tenor and soprano as a contrast is wonderful, i love it! Thanks for uploading
  4. Concerto per oboe, violino, archi e basso continuo in mi minore (13.01.19 - 04.03.19) written in the late Italian language. I finally got this concerto finished. It has been a thorn in my side for two months now. No time for composing and very little inspiration. The concerto its written to the baptism of my unborn son, so I have about 4 months to edit and rehears. I. Allegro II. Adagio III. Vivace Please tell me what you think!
  5. Thank you very much Luis! Its shall be c minor!! Wrong typing on my behalf. 🙂 Do you mean the unision sections in the vivace? - If so, its actually quite common in the style to do this, go from 4 or 5 part to one melodic line in unison (as long as its one melodic line, its not considered parallel octaves, but as doubling the melody the voice. Like the cello and bass (the 8" and the 16" on the organ). Its usually a rhetorical tool used in the end of a section. Hm, might be some romantic sound in there. Baroque music tends to sound romantic at times when there is a lot of chromatic. But every progression is well grounded in the basics. 🙂 That is what I think is amusing, many argue that rules and form is a limit. I really don't agree. Now i'm rambling again! Anyways thank you for listening and commenting!
  6. This is very nice! I really like it! 🙂 Did you perform it yourself?
  7. Concerto per violino, archi e basso continuo in d minore "Il cromatico" This is my latest violin concerto (46) written in the late italian language. In the baroque affects the chromatic passage is symbolic for the fall to hell. So I guess that is what the concerto is all about. I. Allegro - Opening ritonello with chromatic passage (the fall), then 16 notes figures (the lashing fire of hell). The lyrical solo section (the pain and sorrow). II. Adagio - The agony III. Vivace - The fury This is a really weird concerto, please tell me what you think 🙂
  8. Thank you Ken320! Im sorry to say, its a recording done buy noteperformer. I did program some phrasings. I do agree that it would be hard to play this perfect legato, but as a organist who plays by the principles of historical performance it its no problem. If you are to follow the principle of the fugue, with the individual voices, it will be natural to perform it that way. So each voice will have its own phrasing. And that is very possible in this piece 🙂 Common practice is to play more or less non-legato. The important thing tough is to have space before the accents, dominant harmonies, dissonances, new figures, melodic lines, etc. Historical performance is pretty difficult and advanced interpretation of music. Thank you again for you kind comment, and that you took your time to listen to the piece! 🙂
  9. Hello Here is a little composition for organ in the north german musical language. I. Fantasia II. Fuga Please tell me what you think! 🙂
  10. Hey, Double concerto for violin and flute, strings and b.c. in E minor written to my dear one (Written 09.10 - 10.10.18). This is one of my more emotional and expressive concerto. I. Allegro II. Adagio (Ciaconna) III. Vivace Please tell me what you think! 🙂
  11. Hello, This is my collection of 12 concertos for solo violin(s), strings and basso continuo written in the italian baroque language (Read the preface in the score if you are interested in more information) 1. Concerto per due violini in d minor 2. Concerto per violino in d major 3. Concerto per violino in a minor 4. Concerto per violino in g major 5. Concerto per violino in a minor "la tempesta di neve" 6. Concerto per violino in d minor "al mio amore" 7. Concerto per violino in d minor 8. Concerto per violino in d minor "inferno" 9. Concerto per violino in c minor "temporale" 10. Concerto per violino in c major 11. Concerto per due violini in a minor 12. Concerto per due violini in d minor Please tell me what you think, SimenN
  12. Hi there! Very nice music, an very impressive first concerto in the Italian baroque language! For the most part you keep to baroque technique and harmony, and that is very fine! Beware of very sudden harmonic changes though (like 01:00, maybe you could make the progression so bar 40 ends with the chord b minor 7? you would only need to change the bass, this would work better with the e major chord). * I would advice you to look over this for the whole piece where you have sudden harmonic changes. In general there is 3 main areas you can improve: 1. Form: This is very important for the listener, I know that it sound like Vivaldi have a very free form (it suddenly pops up unexpected stuff, but there is still a ground form. What I have done is to base my concertos more on form, i usually have a Rondo form. Ritonello - Solo 1 - Ritonello (modulated, with variation) - Solo 2 - Ritonello (original) - Solo1 with varation/Cadenza - Ritonello). I think you would benefit from that, from my point of view you are a "little too much", too much happening, to little base. One more thing is to let the melodic opportunity decide where it will take you. (see the example) 2. Use of orchestra: You use a lot of orchestral violins in unison, i think you could write more counterpoint. Its common to double the soloist with the first violin when the ritonello plays. Check your double stops in the violin!! 3. Harmony: Check your progressions and work on preparing the next chord. Keep it going, a very good concerto! Example: I found one place in you third movement (bar 57) where I think you did not follow the potential of the first motif in the bar. I wrote a little version on it, hope it can give you some ideas on how to move on from you base motif (in this case the first two beats of the solo violin in bar 57).
  13. Hi there! I cant give you any feedback on romantic technique , but I really like the style! What I cant say is that this is very good music! Congratulations! For me the best section is the opening, very classical in style! In my baroque mind that is a perfect ritornello, I was just waiting for the music to return to it.. That is my problem with romantic music though, a more free form and less structure, simply "too many notes" 🙂
  14. Some guy that writes music: Thank you so much, I'm glad you enjoyed the piece! My latest violin concerto XLIII (43) is in the chamber music section if you want to listen! 🙂 Youngc: Thanks for asking. My main orchestral/chamber music consist of 43 concertos (ATM) in the late Italian language, 13 concerto grossi and 6 trio sonatas in the early Italian language, 4 overtures, 4 keyboard sonatas, 2 sonatas for unaccompanied, and 1sonata for unaccompanied cello. I started writing the late Italian concertos back in June 2013. My plan was to write 20 concertos in two in two booklets of 10 each (la prima parte e seconda parte). I wrote the music for the musicians in my ensemble,my hard drive crashed, so i only have the first 10 on paper) Prima parte: I. Concerto for violin, 2. Concerto for harpsichord, 3. Double concerto for two violins, 4. Concerto for violin, 5. Concerto for recorder, 6. Concerto for Viola, 7. Concerto for cello, 8. Concerto for violin, 9. Double concerto for two violins, 10. Concerto for violin. Seconda parte 1. Concerto for violin, 2 Concerto for violin, 3. Double concerto for two violins, 4. Concerto for violin, 5. Double concerto for organ and violin, 6. Concerto for strings, 7. Concerto for strings, 8. Concerto for violin, 9. Concerto for violin, 10. Concerto for bassoon. -------------------------------------------------------------------------------------------------------------------------- My most productive years was from june 2013 - august 2015. I wrote concerto 1 - 30 in that period. My goal at that time was to end with 30, but could not stop... The concertos from august 2015 - have been very unproductive due to lack of time to compose. Hope i reach 50 by the end of 2019 😂 Those 12 concertos consists of 1 concerto for flute, 1 double concerto for two celli, 1 concerto for bassoon, 1 concerto for 4 violins, 1 concerto for strings, 2 double concertos for violin and 5 concertos for solo violin. Right now im working on a booklet with 12 of the concertos i like best from the period 2013 - 2018. Its titled: 12 concerti solisti per violini, scritti in stile italiano. Its content: 2, concertos for 4 violins, 4 concertos for two violins, 6 concertos for violin.
  15. Violin concerto XXXIX (39) la tempesta di neve (The winterstrom) in a minor for solo violin, strings and bc. The concerto was written in February of 2017 due to heavy snow and cold winds at the time. The concerto was edited yesterday, the only change is i added bar 279 to 294 to make the part more expressive with some written trills and some double stops for the solo violin. Personally I think this is some of my more expressive work. The music is full of affects and 16-notes figures that is to symbolic for heavy winds and snow. The dissonances in the slow movement is symbolic for the freezing cold. The third movement is the hellish weather itself, the other movements function is to support the finale. I. Allegro - 4/4 time - Unison opening 2. Adagio (Calm before the storm, the freezing cold) - Dissonances, chromatic passages, - The progression of la folia as solo section 3. Vivace - la tempesta di neve (The Snowstorm) - 3/4 time, - 16 notes figures/eight note beating rhythm. Please tell me what you think!
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