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Theodore Servin

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Everything posted by Theodore Servin

  1. Thank you so much, @danishali903! I will definitely consider your offer in the future!
  2. I actually liked this piece a lot. I love the emotion in the A section, and how it was expressed through the harmonies and melody. I was somewhat confused about the choices for enharmonics, and the lack of a change of key signature at the end to go back to A-flat minor, but thats really doesn't bother me. There are some adjustments I would make in the B section, but really only minor details. Very nice!
  3. Thank you, @Jean Szulc! I'm glad you you enjoyed the piece! 🙂
  4. @Ivan1791 @Left Unexplained Thank you both so much for your compliments! I appreciate it!
  5. Another beautiful impromptu! I might like to play these pieces sometime. Subscribed!
  6. Thank you so much, @panta rei! The name isn't necessarily meant to related to the text in the "Dies Irae" text, or the Catholic Requiem mass, but instead was only meant to evoke feelings of sorrow and loss, though I guess I added much more than just those feelings in the piece! Thank you, @aMusicComposer! I'm glad you enjoyed the piece as well as the performance!
  7. The Lacrimosa for piano quartet was composed in 2019. It was written in reaction to the April 2019 Notre-Dame de Paris fire, an event that shocked me to such an extent that I felt compelled to put my feelings about it into music. The fact that one of the greatest architectural monuments in European history was suddenly getting destroyed was horrifying to me, especially considering that at the time, it was unknown how much of the building would actually survive. This performance is a remote recording - that is, a recording where the musicians involved record each track separately, often times in different locations, as in the case of this recording. The artists are Javier Orman from AirGigs on the violin, JonathanCello from Fiverr on the cello and viola (the latter line played on the cello), and myself at the piano; these musicians were absolutely fantastic to work with. Here are the links to their professional pages: https://www.javierorman.com/ https://www.fiverr.com/jonathancello/... I hope you all enjoy. 🙂
  8. @Mister Red Because he's from France. You can see this on his account page. @Camfrtt By the way, I also wanted to say that this is a really great piece! I love the orchestration and full-romantic sound! Great job!
  9. A delightful piece! It's very nicely constructed, and you have succeeded in capturing the essence and style of a classical piano concerto. I like your harmonic choices very much, and the piano line provides a very even balance with the winds. There were some notes I wasn't entirely sure worked perfectly, but they didn't take away from the overall experience. I enjoyed listening to it very much. Also, I agree with the others who commented here, I think a couple more movements would add nicely to the piece, but it works fine as it is. Great job!
  10. @DanJTitchener Thank you for your compliments! I'm glad you enjoyed the piece. I have actually considered self-publishing (mostly just making a nice score of one of my pieces on nice paper), and I haven't thrown the idea out of the window yet. @Tónskáld Thank you so much! I am honored that you think of my music in this way! I actually have some chamber music posted online, and there are some more chamber pieces coming in the near future. In the mean time, if you're interested, you can listen to some of those earlier pieces, as I have posted them here on this forum. 😄
  11. Very nice composition! I really like the orchestration and character! I only wished it was a bit longer, as it sounds like it could be a beautiful opening movement to a serenade or sinfonietta for string orchestra. Well done!
  12. I haven't been here when the magazine came out. Would you mind telling me what it was all about?
  13. The way I see it, the texture (or textures) should be used in accordance with what you are trying to express in the piece. In the case of chords in music, you should choose what to use based on the emotion of the piece, or section within the piece. Beethoven's thick chord texture in the Pathetique Sonata introduction was chosen to create a dramatic and animated effect, whilst Chopin's lighter chord texture in his C minor nocturne was used to create a sadder, more melancholic effect. They well could have chosen any texture; for example, Beethoven could have used a texture similar to Chopin's, or Chopin Beethoven's. But instead, they chose the textures they used, because for them, it best conveyed what they were trying to express. Ultimately, I think it comes down to what you personally wants to say. Of course, somebody can suggest ideas to you, and you may like those ideas, but ultimately, it's what you believe works best for the piece. As for the rules set in the past, I would say feel free to use them, or break them; whatever best serves your musical message. (But personally, I would not recommend breaking rules just for the sake of breaking them, or following rules just for the sake of following them. Then you're only writing music for the theory's sake, not the music's sake.) In regards to not muddying chords, then I think it's probably best to change the pedal within a "chord-y" section frequently as possible; for example, every change of harmony. But again, if the desired effect is to have a muddy section, then by all means use it. Whatever you think is most beautiful for your piece.
  14. Thank you, @Markus Boyd! I never expected my music to make such an impression on people! 😄 Also, this is actually my performance. Thank you, @aMusicComposer! I'm glad I was able to introduce you to a new composer! 🙂
  15. Hello everyone, It has again been a while since I have posted anything, and I have a new piece to show you all: the Fantasy-Variations in G-sharp minor. This piece was written in 2020. The theme is based on an aria from the 1967 opera "Grigory Melekhov" by the composer Ivan Dzerzhinsky. Ivan Dzerzhinsky (1909-1978) was a Soviet composer and pianist, best known for his operas and popular songs. His most famous work is the 1935 opera "Quietly Flows the Don" (based on the novel of the same name by writer Mikhail Sholokhov), which was a success at its premiere, and which launched Dzerzhinsky's career as a composer. He continued writing operas over the next several decades, including "Virgin Soil Upturned" (from which the duet "The Cossack Song" has since become popular among Russian ensembles), "Fate of a Man", and of course, "Grigory Melekhov" (also based on Sholokhov's novel). Aside from operas and vocal works, he also composed piano concertos and piano suites. His music usually is quite traditional and accessible, many pieces bearing similarities to Mussorgsky and even Puccini. With the exception of "The Cossack Song", his works receive very few performances today, and they are almost entirely within Russia. Furthermore, he has been labeled a "hack" by musicologists for his musical style, and for his status within the Soviet Union. I wrote this piece because I thought Dzerzhinsky's melody was too beautiful to be forgotten, and I wanted to make it available to other people, as well as to add something new to it; this is not meant to be a political piece. All that said, I hope you all enjoy the piece. 🙂 Also, for those of you who are interested, here is the original theme:
  16. Very pretty pieces! Unfortunately, I do not know enough theory to be able to appreciate the full extent of the form, but I can say that I enjoyed listening to these pieces! Congratulations!
  17. I really like this piece! I love your sense for proportion within a free form, and how you imbued deep emotion into your piece. Great job! 😄
  18. Welcome, Ali! I'm glad you found the site! I like your sonata! I've already heard it before, and I still think it's really nice! I especially liked the fugato in the first movement. You have a good understanding of classical formal and harmonic makeup. I can really hear the influence of Beethoven in your music. I hope you post more beautiful works such as this one! Meanwhile, you can get familiar with the site's inner workings, and consider commenting on other composers' works as well. I hope you find yourself at home here!
  19. It's totally playable. Sure, some parts are slightly more difficult than others, but it's totally within the range of an experienced pianist. Well done!
  20. This is indeed a really beautiful composition. Like @jawoodruff says, I don't understand why this piece doesn't have all that many comments. I love the constant flow of the melody and the harmonies, and the way the piano sounds like waves on the ocean. Very beautiful!
  21. Thank you both so much, @wesleymiller and @Mikebat321! I really appreciate your comments! 😄
  22. @Carl Clausewitz I have just sent you the score. Please enjoy!
  23. Very nice fugue! I did notice some parallel fifths and octaves, but I don't know if that was intentional or not. I don't think it's repetitive, and I like the harmonic and melodic complexity of the piece. Overall, very well done!
  24. Thank you, @Guillem82! i appreciate your compliments! Happy New Year! 😀
  25. These are very interesting pieces! I like the catchy rhythms and harmonic progressions very much. Also, I like the way you wrote for piano. Like @Luis Hernández, I'm particularly fond of the first ponteio, but these are all well-crafted works! Congratulations!
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