Crestflame

Does this actually make any sense lol, it looks done on purpose to me. A lot of the grace notes aren't written correctly as well.

Crystal stuff, Very strong mood.

I'm really glad you enjoyed it Jared!

Yea, it could be a bit odd to play. Got any better?

Does anyone know how to actually contact the instrumentalists on the performance network?

Why do you want to make it sound uneven? On the flowing...I think it's all about crystalizing exactly what you want to say, and secondly realizing exactly how it has to be said. I believe there is only one true best way to say something. I approach writing as "objectivly" as possible, in terms of stripping a feeling to it's core, in order to understand exactly what it is. It could be very hard, but certainly makes you more in tune with yourself. To me that goes to explain why when the strong, sharp impulse (feeling) of inspiration strikes is when the best and clearest things are written.

I'll be sure to check it out. Most of the piano music I listen to is Baroque, Impressionism or Modern. How do you feel about Faure's preludes? I certainly don't mind! If you ever make a recording be sure to throw it my way. I would be interested in your interpretation.

Well find out how it works :-) True, the piano is a whole universe. We just have to make a cosmos of it :-)

Yea, that's a really good 'inner voice' excercise. I gotta do more of that myself! It's cool, but it sounds a bit random. put it at least in one more place to make it stylistic.

Sweet and interesting, love the hiatus in m. 16, however it sounds a bit coincidential, is it?

You write a lot of piano music?

Yea, I pretty much agree, it's a very pure process... It's an overly thin line, the dissonance... Takes true mastery to make the dissonance a completely natural thing to hear, I hope to reach it some day

Oh, absolutely. I've always felt much closer to polyphony rather than harmony, it's definitly my true passion (at least so far). And yea, I've always felt "alone" while writing counterpoint, meaning that, there you have a very logical system of rules, which is more natural than "humanly". I certianly consider it a perfect system, and I believe the efforts of one to sink into this system will make him/her closer to perfection. It's been a hard, patient, inner and spiritual process for me, I hope I don't sound overly philosophic. I think I achieved what you mean partially in some organ and hapsichord ricercars I wrote some time ago, but not so much in the vocal stuff.

You mean in a rather more modern manner? Outside the renaissance polyphonic concept?

Thanks for the comment, What rules are you referring to? Well Victoria, having been a composer of the late renaissance, could be polyphonically brave at moments. His music is certainly very mature harmonically and especially in his late works, one could see the T-S-D relationship begin to crystalize even further, in the following centuries to become the main grid of musical expression. At places, in this mass, I was brave in a similar matter, more so intervalically, reaching for an emotional impact rather than a symbollic one. This certainly isn't a piece attemped to be written in Victoria's style. In some, not a lot, of his works the introducing voices might begin more independently and not always imitativly, which is what I meant earlier.