Rich

Yeah. Well thats a big big philosophical difference. While I certainly regard music (at its best) as a form of self expression, there is a tremendous amount of theory and historical experience to learn and draw from. Or not. Myself, I've never regarded music as anything less than a shared communication between composer/musicans and an audience -- I have expectations and likes/dislikes when I select/listen to music. I only assume others are the same. So, while as a practical matter I write for myself, I would like to think I am communing with this vast spring of muscial history and ideas to the extent that I strive to understand and learn from it. Does it make me uncomfortable? Absolutely. But I can attest that in the uneasiness, the growth happens.

Looking at Peters original post, he wonders if focusing on composition work is narcissistic. I don't think so--at all. When I am working I need quiet and 100% of my bandwidth to do work. Thats how it is, and I suspect thats how it is with many. Writing music is hard. Being ultra focused is just part of this, as is any pursuit of such complexity. It certainly isn't clinical narcissism, and anyone labelling a person so dedicated to their craft/job/pusuit is ignoring what is involved. And nothing of great value can be created in this world without that kind of focus----art, music, engineering, architecture, scientific pursuits....

Personality disorders and ability are seperate things. A person can be gifted and quite talented and still normally adjusted--able to love and work with others as individuals. Conversely, a person could be just as gifted and isolated/ill to the point of being delusional. Wagner vs. John Williams, for example.... Or a complete hack. Which is likely more often the case----the gradiosity covers for their failings.

A very good effort in a difficult form to get right. I would recommend more immitative counterpoint in the 1st movement---particularly in the cello. While I get the "grave" tempo and the intended feel, sonic interest might be better served by a bit more motion. Not to hinder but to ACCENTUATE.

Sounds like an articulation mapping problem. VSL will fix it, I'm sure. Product support is good, and they are intent on breaking into the entry level VST market....

more depth on the Garritan CFX. Like honey....

I agree--the Garritan CFX is really amazing-- I have the "lite" version. Every bit as good as VSL, if not better!

Crisp--- A very fun and well-orchestrated piece. Not usually my fare regarding muscial genre, but I truly enjoyed this---varied, unpredictable, and yet cogent as a whole. As for your revered teachers--- LET THEM TURN!

I thought it was a fine piece. A few things: Bar 9: The thin texture needs a bass line. I'd keep the cello here. Bar 21: choir entry. Again, I'd fill the chord here by retaining the cello. A few adjustments to phrasing might be useful, but generally I liked the feel of the piece. With the reduced force, I'd certainly use what you have to the fullest-- you create a pleasant and interesting sonority.

Yes-- My main models--rondos/style I really like were Hummel (1816 piano concerto in a minor, 3rd mvmt) and Ferdinand Ries' piano quartets in general- both "early romantic". The rondo form held on into the mid-1800s. ( The simple sounding opening with the alberti bass/arpeggios should be build on/complicated later--hopefully with more romantic gestures.) UPDATE: Thinking about your comment--- I'm going to go with a semi-quaver pulse for the accompaniment--what I call "block chords"---more early romantic and amendable to intensiification /morphing...at least as a starting basis. To tired today--this weeks work, and scoring the string partial statement of theme.... Thanks for the comment--it got me thinking. Wish I had more time to "make the sausage".... I'm likely going to thin the chords in the right hand as I want there to be a build up on subsequent A theme entries--but these are where things are headed.... The ornaments (gruppettos/mordent) are pretty common as written in classical/romantic pieces. It certainly lends itself to elaboration. I definitely want to break up the melodic rhythmic patterns a bit more. Thx for the listen.

DISCLAIMER: WORKING WITH A TWO MONTH DEADLINE....! I wanted to come up with something memorable, and suitable to pair with what has been written. Fiddled with this simple rondo theme. Everything is subject to more fiddling---tempo might increase, parse down opening statement texture wise (simpler right hand), a little more rhythmic variation... But this is something close. ABACA Sonata form rondo--- This is the opening--the second half will be a partial statement with strings leading and a brief breakdown and codetta leading into a major key B section -about 1.5 min or so... Some German 6ths in there and a Neapolitan or two....learning...

Hey Markus--- Yes--- aside from the 2nd theme in F (Eb Major in recap), and the chorale, it is a minor key affair. I do note the flitting between major/minor in the works of great composers---Schubert's gift for this comes formost to mind. I simply lack the technical skill to do this at this point--though, along with more motivic digressions--I want to work on it-a looser, more ranging feel in general. So, I agree and the point is taken. I will keep this in mind as I work on the Rondo (Rondo sonata form A/B/A/C(DEV)/A--- the key plan is Cm/G major/Cm/ maybe Am,F minor?/ then Cm with a major key ending--Eb Major or maybe C major? I was just thinking how even a nominal "minor key" phrase can have a major key turn (schubert again), or major key answer....I need to be open to these ideas. I have to be patient with myself---the learning is coming in buckets right now---even touring studios /working with the pianist is enlightening.... The simpler scored violin sonata will allow more focus on form/feel, and I do plan on a more adventerous musical argument... Thank you for your comments! They help

Wow, @Rich. This is an immense work. It is difficult to provide constructive feedback on something with such depth. I would, though, like to hear more about your influences for this work. Who are your role models and the style you are emulating? Markus--- Thank you for your comments. I don't know how much depth it has!---but I did shoot for coherence and a logical form. I must admit I am proud of it as far as thematic unity--melodic and rhythmic motivic fragments help to unify it--the opening, the three sections of the developments, and even in the coda. I really just had to trust our great teachers from the past and put as much craft into it as I could. And, I know, my mom's passing fueled what feeling made it into the later portions.. I started the 1st mvmt looking to Mendelssohn and Ferdinand Ries(Beethoven's pupil and friend, and a fine composer himself)--definitely "early" romantic composers, but looked and listened to a lot of Schumann and even took to Brahms' own PQs as time passed. I think the basic musical language is early romantic--thematic vs. motivic development, clear diatonic harmony. The "quiet" interior of the piece--the chorale--is my take on Mendelssohn invention he used in developments and caught on. It worked back in the 1830/40s because it was new--- instead of amplifying as in classical development, you take a step down before a more energetic close to the development (here the fugato). More generally, I love late Schubert- the piano trios and quartets. Spiritually, he has to be an influence. The rest, I guess, is me. My own criticism of the piece is an overly formal statement of themes. The hardest portion to write was the "A" section of the development, as chopping up and playing with fragments requires the most work, musical sensitivity,and skill---rapid modulations, changes of rhythmic patterns/motifs, etc... I defintely want to focus on this more on my next piece--a violin sonata (to be written on Dorico for the first time!). ****************************************************************************** The neat score is due to my pianist holding my feet to the fire--as I asked her-- to produce a clean, usuable score/parts for performers--a new consideration! She has been great. And thanks, it took a lot of work and time!---and I'm not done! Anyhow, I just signed on my string trio, and am mentally juggling a rondo theme around in my head, almost ready for pen and paper. I would like to have it done by early may and in my pianists hands --she needs 4 or 5 weeks to work on it-- for a June workshop. I've never worked like this--with a deadline of sorts--and it is a bit unpleasant! If I blow by this deadline, my group has to bring on a new violist---a little hickup. I told them I'm not going to botch it up just to have it done, however... I want it to be fitting for the piece as a whole and tie it together style-wise. I'm thinking of a call back of the chorale from the 1st movement in the coda, and a major key ending, honoring my mother, and wishing her peace.... Mainly, I need about 50 hours uninterrupted work time!! Fat chance of that.... Thanks again for your kind words and interest! You are a fine composer, and your thoughts have weight! My life is a bit like an American country music song right now, and this gives me a real lift!

I think "narcissism" is inherint in all true creative endeavors--insofar as we have to turn inward to produce something new. Officially, Narcissism-- as a personality disorder means a chronic problem with human relationships. We stray from "self-absorption" or inward focus into trouble when we can't interact with others in a healthy fashion--see them as individuals. Read the biogrpahies of many great composers, painters, writers--and you see the conflict between artistic vision and relating to the outer world and the people in it. It's a factor that I think all creative people should be mindful of. We need people. They also need us. Learing to balance that is the trick.

UPDATED 2-11-25: Made recommended changes, created a "false start" in recap of 1st theme to add tension/avoid stale theme, tightened up dynamics, phrasing... I've started working with my pianist who is going to play in the workshop. I've cleaned up the score for performance--she was very helpful---and made the final large scale edit---creating a "false start" on the recap of the 1st theme, which then promptly lunges into the full throated piano rendition and complete theme/coda. It cut 15 seconds and is generally more concise and maintains momentum (I think). I'm under the gun to write the Rondo in 3 months with a workshop penciled in for June. My pianist is largely MEMORIZING my music--which is humbling and a wake up that suddenly, with a performance in the offing, this is FOR REAL. Getting there. The workshop will help with critical final edits. This may be Opus 1... we will see..... (2-11-25: Corrected bar 116 timing--used "hidden" markings for the first time--very handy to get a good performance score AND use the score for playback! Also corrected bars 248-250 run up to finale thematic statement. Timing/variations in tempo are difficult with computer....human players would have no problem doing things that take a half dozen markings to achieve with a machine....) Now it sounds about as close to what I intended as possible...) (NOTE: FINALE is giivng me trouble---the last bars are having volume issues, and are too loud in playback....despite numerous efforts to correct. Dorico is coming!....)