Konzertst

Konzertst

Konzertst

Konzertstuck en C-Dur fur Violoncello und Klavier.pdf

Very good job... especially after all you've composed in the last year Anant.

Text me some time, and I'll call you and talk about it.

I think this piece is really well done, full of power and passion, the only bad thing is the audio in the mp3 that is not the best rendition ever, but i am sure that once you get this performed you will post the live playing, and please, try to get a good microphone and record it, and if you dont make it when you do the live concert, try to record it in the rehearsal so the place is quiet and the sound will be glorious!

well done! :)

Thank you trumpetnerd :D

I shall call you, and you can expound your criticism upon me.

Punkitititi -

Thank you for commenting! I didn't think that the mp3 was that bad, but yes I will be sure to upload the performance file as soon as it happens

Thanks again, you two :)

Piano Trio No. 1 in F minor, Op. 2 - I - Allegro Molto Appasionato.mid

Piano Trio No. 1 in F minor, Op. 2 - II - Adagio Con Moto.mid

Piano Trio No. 1 in F minor, Op. 2 - III - Scherzo.mid

Piano Trio No. 1 in F minor, Op. 2 - IV - Tema Con Variaza.mid

Piano Trio No. 1 in F minor, Op. 2 - I - Allegro Molto Appasionato.pdf

Why thanks a lot Nico! :D

I don't usually hear that word a lot.. But true story, the 50's are making a comeback in the artsy world.. so perhaps in a few years, everyone will be saying "gee thanks" and "I was just joshing around" and "that sure was swell" instead of "epic fail" and "pwned" and "n00b".

I'm glad you enjoyed listening to it :)

What happened to your viola transcription? :P

(I want to check to make sure everything is playable, but I hate reading cello parts. Having a viola part will at least give me a better idea about parts, even though the fingerings are different...)

One thing I noticed and pointed out to you earlier was measure 28. It's completely playable, it's just that that bowing doesn't seem 'right' to me. I'll have to think about what you can substitute, through. I'll go through the bowings of the entire piece and see what other odd bowings I can find. You'll have to find somebody else to check the playability of those chords on cello; unfortunately, I can only tell you about viola. (I'll really just have to check the chords in the cadenza; everything else looks fine, if you're sure about the octaves.)

Anyway, you already know what I think about the piece, so I'll just have to check out the technical stuff.

Whenever you call me, I'll give you specifics... but a lot of the cello part is AWKWARD and unplayable. At least some of the doublestops... And again... the notation.

The octave double stops beginning m 59 just don't look playable to me. 247 - 250 also looks rather difficult - at least from the perspective of the performer (which position will he/she play!) Mind you, I'm not a cellist. My instrument was the viola - devoted 17 years to the beautiful instrument :) As this piece is being performed, what has the cellist commented on? Surely, he/she has had a chance to see this already - and started practicing it. Hope you fill us in !

Thank you for commenting, you three :)

As for the cello playability issues with some of the stops...

I have asked three cellists.. two in real life and one on here about the double stops. All of them said that mid range stops like those are quite simple using different techniques for those notes. They could have all been lying, or they could have all been right. I certainly do not know, but I'm going off of their word.

I've also had violists look at my work, mind you :P

m. 247 to 250 are all possible as far as I can see and I have yet to be told otherwise.

About the performance, yes the cellist has looked at it and she indicated that the majority of the piece is not very difficult to play and that the octave stops would be slightly awkward and give some problems, but the rest would be easy.

Thanks again for commenting :)

i just know one thing about this work , the beginning it look like a concerto , but it IS a cello sonata , however you dont show off your first theme as soon as possible by the cello , it made me confusing that is a piano sonata more then a cello sonata

the harmony are very colourfull that is what i enjoy , but if you fix the begining it would be much more better

dark

Thank you dark, for the comment.

A cello sonata, though is a work based on the sonata form and is usually in 3-4 movements. A cello sonata would follow the basic form that other instrumental sonatas follow.

However, this is a Konzertstuck because it is in a loose concerto sonata form. All concertos don't HAVE to be for orchestra and solo instrument. The fact that I have a piano exposition and a cadenza clearly show it to be a concerto form, yet other quirks in the middle throw off the notion of a rigid sonata form.

Thank you for commenting, you three :)

As for the cello playability issues with some of the stops...

I have asked three cellists.. two in real life and one on here about the double stops. All of them said that mid range stops like those are quite simple using different techniques for those notes. They could have all been lying, or they could have all been right. I certainly do not know, but I'm going off of their word.

I've also had violists look at my work, mind you :P

m. 247 to 250 are all possible as far as I can see and I have yet to be told otherwise.

About the performance, yes the cellist has looked at it and she indicated that the majority of the piece is not very difficult to play and that the octave stops would be slightly awkward and give some problems, but the rest would be easy.

Thanks again for commenting :)

Yes, I've seen cellists use there thumb on occasion to help play harder stops. And its a technique used even more on viola and violin. Main concern was the stops you have moving - and even that is more a concern of intonation and less of actual playability. I think a good point to mention though is that you actually HAVE a performer that you are working with here - unlike pieces just written for whim. And to clarify, certainly there are harder works than this in the repertoire (the Bach Solo Cello Sonatas come to mind!)

jawoodruff is right about the intonation of the octave stops, but they should be fine, I think.

By the way, I will not stop bothering you until I see the viola part.

And to clarify, certainly there are harder works than this in the repertoire (the Bach Solo Cello Sonatas come to mind!)

This is irrelevant to the thread, but I'm interested now. I didn't know Bach wrote any sonatas. I thought for a moment you meant the suites, but that doesn't make sense, since you as a very good violist can probably play at least the viola transcriptions fairly easy. Even for me, only 5 and 6 are really very challenging. So...did he write cello sonatas? I want to hear them!

jawoodruff is right about the intonation of the octave stops, but they should be fine, I think.

By the way, I will not stop bothering you until I see the viola part.

This is irrelevant to the thread, but I'm interested now. I didn't know Bach wrote any sonatas. I thought for a moment you meant the suites, but that doesn't make sense, since you as a very good violist can probably play at least the viola transcriptions fairly easy. Even for me, only 5 and 6 are really very challenging. So...did he write cello sonatas? I want to hear them!

I think he is referring to BWV 1027-1029 (Sonatas for viola da gamba & keyboard).

No he isn't...

Why can't you all be as helpful as me.. and call him?

And point out how most of the double stops are awkward... and point out notational issues.

jawoodruff is right about the intonation of the octave stops, but they should be fine, I think.

By the way, I will not stop bothering you until I see the viola part.

This is irrelevant to the thread, but I'm interested now. I didn't know Bach wrote any sonatas. I thought for a moment you meant the suites, but that doesn't make sense, since you as a very good violist can probably play at least the viola transcriptions fairly easy. Even for me, only 5 and 6 are really very challenging. So...did he write cello sonatas? I want to hear them!

I confused sonata for suite [suites for Violoncello Solo, BWV 1007-1012]. However, the suites are hardly considered 'easy' repertoire. Even the viola transcriptions are difficult works to conquer...I am a good violist, and even I had difficulty with some of the double stops in the suites (nr II - Sarabande for example). And I do see a relevancy between those works and this - which is why I mentioned them. Both are pieces for the Cello. And I believe the Bach work would be a good 'reference' to any composer looking to write for the instrument itself. As for double stops, keep in mind unless you are an extremely advanced player... long passages of double stops as are in this piece... will be difficult. Imagine all the written in pencil notes from your performer as he/she tries to figure the best ways to finger the passage. What positions he/she plans to use - which works best...etc.

In the end though it doesn't matter. As he said earlier, the cellist already looked at the score and she indicated that the majority of the piece is not very difficult to play and that the octave stops would be slightly awkward and give some problems, but the rest would be easy. And as the octave stops were the only thing I pointed out as possibly being problematic (sounds like what the cellist said)... I really don't see why others here have a problem with my critique. *Looks at QM*

Thank you dark, for the comment.

A cello sonata, though is a work based on the sonata form and is usually in 3-4 movements. A cello sonata would follow the basic form that other instrumental sonatas follow.

However, this is a Konzertstuck because it is in a loose concerto sonata form. All concertos don't HAVE to be for orchestra and solo instrument. The fact that I have a piano exposition and a cadenza clearly show it to be a concerto form, yet other quirks in the middle throw off the notion of a rigid sonata form.

but if i compose a cello and piano work , i will try to start up with the solo cello firstly then devlopment, rather than the piano solo start up ,there are a lot of piano music . however , there are very few cello solo music , meanwhile , cello- solo-begining look more like a simple beginning then a chordal tutti piano beginning , but music is very subjective , if you really love this beginning , that will be completely fine indeed , as a composer ,we should have confidence , specially you are a boy (but i have no confidence , sorry)

by the way i am composing a bassoon and piano work (panda ) so ., you will wait and see

:blush:

dark

but if i compose a cello and piano work , i will try to start up with the solo cello firstly then devlopment, rather than the piano solo start up ,there are a lot of piano music . however , there are very few cello solo music , meanwhile , cello- solo-begining look more like a simple beginning then a chordal tutti piano beginning , but music is very subjective , if you really love this beginning , that will be completely fine indeed , as a composer ,we should have confidence , specially you are a boy (but i have no confidence , sorry)

by the way i am composing a bassoon and piano work (panda ) so ., you will wait and see

:blush:

dark

The apparent curiosity in form passed me by but I applaud you on making a somewhat bold decision, Mael.

Nathaniel

I really don't see why others here have a problem with my critique. *Looks at QM*

Hey, what did I do? :O

December.... crap you work fast!

I have looked at it here and there as you have worked on it, but I like it better now than I did then (wasn't the biggest fan in early stages. :P). lol

Bravo

(P.S. Do you enjoy the Romantic period? lol)

-Also, I cannot comment on playability, but some of those chords are beastly..

:thumbsup: :thumbsup:

Okay I like this piece. I had an enjoyable time listening to it.

This may have been asked already, but I haven't the time to look through, what sound samples did you use?

(ah you revived this thread! :O)

I actually didn't come up with the mp3 myself... I asked Andy Light to procure the audio.

I think that he used Reason... but I haven't the slightest clue.

On to the music: I liked it! As always, I admire your harmonic language! I don't really have too many comments as I didn't particularly dislike or like any particular part. I felt, sometimes, that too much was going on all the time, and that the music could have benefited from a slower section and/or a break for the cellist, and I really like the introduction!

I know you were turned away from turns after comments on this piece (no pun intended), but I think the simplest notation is always the best, and, in my opinion, turns are simple; easy to read, and are not an archaic practise!

Great job! Looking forward to hearing more!

Why thank you, Cupnoodle and wayne :)

As for the too-much-going-on factor... I agree!

However, a live performance of the piece took place on June 2 and they did a marvelous job and it didn't sound as busy as the mp3 does.

(I don't have a recording, sorry.. will have one soon)

Thanks again :)