Marcos Oliva

I thank immensely the opinions of everybody, I will be considering all the observations in the next two movements it will be writing! I liked the idea about signs of dynamics. :thumbsup:

I play piano to around twenty years and also I compose to some time but that is mine first written composition specifically for that instrument, also I took some cares with the annotations of dynamics, pedals and time changes. See you soon. Marcos PDF / Lili - Piano Sonata 1st Mvt. MP3 / Lili - Piano Sonata 1st Mvt. 128 Kbps :)

Hello Frantz, I see the computer as being a new instrument musical and also like a composition tool composition and in the moment I am trying to write for orchestra as this went an only instrument, fairly I am going to find a space of composition inside that time gap about the which you wrote. About your styles preferred, I felt really a Medieval atmosphere in the your works, I'm awaiting your Mass.

Hello Thomas, Your first symphony really is a big romantic work. I tried to improve the sounds of the MIDI and I tried some small alterations of time. The emotional and expressive potential that was revealed is fabulous. ..! Think of that when is going to note in the score the alterations of time and dynamic. It is a Fantastic Work.

Hello Thomas, I forgot of write about his comment about the snare drum. A marvelous idea. I am considering seriously write something for the instrument. Thank you.

Oi Frantz, Obrigado pelo incentivo...! "...sua peça conseguiu reunir elementos tradicionais tardo-românticos com recursos modernos de modo muito feliz e harmonioso, sem que houvesse qualquer conflito, antes colaboração." Fiquei particularmente super feliz com esse comentário pois tento nas minhas composições utilizar de tudo para poder me expressar, da Harmonia Tradicional até os conceitos mais atuais, tente antes de escutar o segundo Mvt escutar o terceiro, nesse vc vai encontrar muito bem marcada essa sua observação. PS.: Dei uma olhada em alguns de seus trabalhos e reparei que assim como eu vc também tem algumas dificuldades para escrever para instrumentos reais, para solucionar isso tento ao máximo assistir a concertos e a apresentações ao vivo, e também escutar e estudar partituras de concertos para os instrumentos nos quais tenho alguma dúvida. Hello Frantz, Thank you by the incentive. ..! "...your piece obtained to unite delay-romantic traditional elements with modern resources of harmonious and very happy way, without that had any conflict, before collaboration." I'm very happy with that comment therefore I try in the my compositions utilize of everything for be able to express me, of the Traditional Harmony to the presentest concepts, try before of listen the second Mvt listen the third one, in that you is going to find very well marked that its observation. PS. : I gave a look in some of his works and I repaired that as well as I you also have some difficulties for write for real instruments, for solve that I try to the maximum one watch to concerts and the presentations to the alive one, and also listen and study scores of concerts for the instruments in the which I have some doubts.

Hello, to everybody I thanks. ..! First I apologize therefore I have a certain difficulty for write in English and is posivel that my text be in some stretches confused a little, but I am going to find to be clearest possible one. Thomas, I very thank yours considerations therefore are fairly according to what do I think and with the my difficulties to compose. I think that after Schoenberg the song earned with all certainty an new structural element , we be able to see that in the composers of the call "Electro-Acoustic School", Stockhausen with her "ringmodulatoren", the Concretism of Pierre Schaeffer, Weber, only as examples. The Sound, in his structural characteristics, where originates and much more other things about the Sound, the new component and its new importance in the musical context. Well, It is not my intention in my compositions have that "depth" but, I like to do to notice the importance of the Instrumentation, dynamic movements, also take advantage of the harmonic and esthetic formalism liberty that those "Great Contemporary Masters" left us like bequest without be necessary abandon the concepts and the formal strictness of the "Old Classical School". I think also that formal strictness perhaps have been a big and fantastic composition tool for the Old Masters, and beginning it do comparisons, Haydn with hundred number of the Symphonies and Mahler that used a period of four years for write its first symphony, hearing Haydn and Mahler and doing an deep analysis of his works we be able to think seriously about that and I ask for myself, how long Mahler would use for write "Titan" could be used a computer as tool of composition? He certain would not have problems with the dynamics marks by the use of the MIDI... :D Come back to my symphony. ..! ;) The Form. That really is not easy to explain. Why Symphony? Maybe by the kind of instrumentation, duration time, number of Movements, the musical handling about the thematic motives, really, I do not know, someone help me please.... :w00t: Symphonic Poem ? During the makeup of the work I perceived some things characteristics in the Movements, the first one, the second, the third one, respectively I called them of Fire, Air and Water, only the last Movimente was conceived really for be the Earth. Very well, I know that the four elements do not be not at all a big work of the Literature but when begin write I had the clear purpose of write something about the legend of Atlantis, the interpretation that I used for nominate and write for the four elements has a mystical symbolic meaning and not the strict meaning because I consider the Universe and the Nature as a Big Book. Well then, why not a Symphonic Poem ? About the term 'brassy', I believe that you be right, therefore I still have a lot difficulty of write for that instrumental group. About the Violas, Cellos and Clarinets, oh yes, the famous "Chalumeau" register. Its observations are in full agreement with the importance that I attribute to the Instrumentation but to make some kind of change I need will listen the score performed by a true Orchestra. About the Midi, by a side I love :) , on the other hand I hate :angry: . for me is a true sacrifice to do some satisfactory record and be able to show some work. About the PS. I thank once again.

Hi, My name is Marcos Oliva and I alive in Brazil, after long six months I finished that score, is my first Symphony in four Movements, also can be considered as a "Symphonic Poem" therefore was inspired in the legend of the lost continent of Atlantis and each Movement refers to one of the four elements, the fire, the air, the water and the earth. Like to know the opinion of everybody in the forum and also clear some questions that can come have it. Atlante Symphony In Four Movements Full score, instrumental parts sheets and MP3 files. Atlante Symphony First Movement (Langsam) - The Fire http://www.archive.org/details/Atlante_Sym...ov_1st_Revision Atlante Symphony Second Movement (Allegro) - The Air http://www.archive.org/details/Atlante_Sym...ro_Marcos_Oliva Atlante Symphony Third Movement (Langsam Schleppend) - The Water http://www.archive.org/details/Atlante_Sym...nt_Marcos_Oliva Atlante Symphony 4th and Last Movement (Feierlich und episch, Langsam Schleppend, Bewegt) - The Earth http://www.archive.org/details/Atlante_Symphony_4thMvt Notice: The score of the Second Movement needs some revision mainly in the markings of dynamics and in the techniques of stringed instruments. My difficulties in that work are clearly in the dynamic, because my markings reference of sound is a MIDI. Marcos Oliva