Minuetto per orchestra in Re maggiore op. 136

Minuet for Orchestra in D major op. 136

Short minuet with trio written in 2007, for:

2 Horns in D, Violins 1 & 2, Violas, Cellos and Basses.

Audio File

why don't you write for double horns in F/Bb?

Minuet for Orchestra in D major op. 136

Short minuet with trio written in 2007, for:

2 Horns in D, Violins 1 & 2, Violas, Cellos and Basses.

PDF Score

Audio File

I liked this alot. It could use a little tweaking in the mix because to me the strings sounded very low and I couldn't hear the beautiful melodies that well. The minor section towards the end was very moving. And the pedal point was a thing of beauty.

That was one of the most beautiful minuets I've heard. Measure 25-26 was my favorite part.

hey guys! thank you all :D

at QcCowboy: I dont use them because I want to write exactly in the most possible true way it was used to be before adopting the modern horn, that's why.

at RequiemAeternam: I know, lately I am being unable to work around the audio of this GPO, but I want to get rid of it soon and get a new and more realistic and better sounding library. the problem will be the ram usage and maybe also the cpu too...

at JohnKrol: thank you for the nice words, you're very kind! :)

hey guys! thank you all :D

at QcCowboy: I dont use them because I want to write exactly in the most possible true way it was used to be before adopting the modern horn, that's why.

at RequiemAeternam: I know, lately I am being unable to work around the audio of this GPO, but I want to get rid of it soon and get a new and more realistic and better sounding library. the problem will be the ram usage and maybe also the cpu too...

at JohnKrol: thank you for the nice words, you're very kind! :)

punkititi that's good, it's what I did a while back. I used to have GPO and now upgarded to VSL (Vienna Symphonic Library). The other best one that I know of is EWQL (East West Quantum Leap) - it's cheaper though probably overall not as realistic as VSL.

If you ever consider getting VSL and want to "test drive" it, let me know and just send or upload a MIDI file of any of your compositions and I'll run the midi through VSL samples so that you can hear what they sound like in comparison to GPO and any other library you might be looking at so you can see what your music will sound like with that library then you can decide for yourself.

wow thank you for the offer, it is very very nice of you!

Guten tag mein freund!

As allways great muzik, i love it :)

buon giorno a te Simen :)

thank you very much!

punkitititi I was astonished to discover that you are not yet a member of Vox Saeculorum. I was almost positive that you were already a long time member. Why aren't you???? You would easily be admitted! Voxsaeculorum.org go now! :D

hahah I have also Grant, that asked me several times to be a member, but the problem is that I have no baroque piece at the moment so I can't really be part of that community, I am working on something to make it more baroque, but it is quite hard for me... :(

hahah I have also Grant, that asked me several times to be a member, but the problem is that I have no baroque piece at the moment so I can't really be part of that community, I am working on something to make it more baroque, but it is quite hard for me... :(

WHAT?!?!?!?!?! I thought many of your pieces were baroque, I guess I was wrong. :sadtears:

I don't understand why you say it is 'quite hard for [you]' as you are one of the most talented composers in this site, you should be able to do it. :nod:

Well then again maybe I understand what you are saying, I want to be a member too but baroque seems to be harder for me to write than classical since classical seems to be more embedded into my heart. :(

well many of my pieces are late baroque, or early classical, between 1740-60 as time period... Grant said that those could go good for a membership there, but I want to make something truly baroque or it is not gonna work...

Mainly I tend to maintain my style around the second half of 18th century, maybe with time I will enlarge this view and incorporate more styles, but I must be totally sure of how it works, and to do so, it must come from my heart, so it is something that you have inside, it's not you sit there and you decide to do something, it will never be as good as you do it because you love it and comes from inside.

well many of my pieces are late baroque, or early classical, between 1740-60 as time period... Grant said that those could go good for a membership there, but I want to make something truly baroque or it is not gonna work...

Mainly I tend to maintain my style around the second half of 18th century, maybe with time I will enlarge this view and incorporate more styles, but I must be totally sure of how it works, and to do so, it must come from my heart, so it is something that you have inside, it's not you sit there and you decide to do something, it will never be as good as you do it because you love it and comes from inside.

Meanwhile I've listened to most of your pieces at the soundclick site. I agree with RequiemAeternam that you are one of the most talented composers in this site, at least with respect to tonal composition. Your pieces show that you have good knowledge of classical style and as time goes by you'll be able to compose also in other styles (as far as tonality is concerned). Besides of proper knowledge of historical style, it is important to develop an ability of deep empathy into its prominent features

Meanwhile I've listened to most of your pieces at the soundclick site. I agree with RequiemAeternam that you are one of the most talented composers in this site, at least with respect to tonal composition. Your pieces show that you have good knowledge of classical style and as time goes by you'll be able to compose also in other styles (as far as tonality is concerned). Besides of proper knowledge of historical style, it is important to develop an ability of deep empathy into its prominent features

Thank you guys!

You're too kind with your words and I really appreciate that.

Grazie :)

why don't you write for double horns in F/Bb?

It's easier to just re-write the same piece over and over.

by that what do you mean?

(don't think to be self explanatory because this wasn't)

by that what do you mean?

(don't think to be self explanatory because this wasn't)

It's obvious you have talent and knowledge, but in my opinion you seem to have chosen to stop being an artist and become merely a craftsman; churning out pastiche after soulless pastiche endlessly, like a Carpenter making a new set of bookshelves each week. This one done in pine, this one in oak, this one in teak, but basically all minor variations on the same tired design.

You show no seeming interest in learning new or varying your existing techniques. Honestly, to me it just seems that you want comments on your myriad variations on the same basic set piece to boost your ego.

Your direction in music is your choice and I am just another composer with a different opinion; I can do nothing about your personal choices, except to voice my own opinion.

I'll save you the trouble of a response simply by putting you on ignore and leaving you alone from this point on.

Well, to be honest, I've been holding my tongue for a while. It just seems to me as though all of your stuff sounds exactly the same. Your work seems to be solely pastiche after pastiche, none of them saying anything new.

This is not true because my works are very different from one another, the style is the only thing that gives them unity, and at this point I can rightly say that all the works written between 1740 and 1830 are basically all the same (as hopefully you know, many wrong attribution have been made too), but still people go to the theatre and listen to them and prise them, and people go to school and study them, scholars study them, everybody studies them... so those are to be considered merely all crazy people studying the same thing over and over, with just a different orchestration and a different composer's name and some little variation?? :whistling:

It's obvious you have talent and knowledge, but in my opinion you seem to have chosen to stop being an artist and become merely a craftsman; churning out pastiche after soulless pastiche endlessly, like a Carpenter making a new set of bookshelves each week. This one done in pine, this one in oak, this one in teak, but basically all minor variations on the same tired design.

I am very glad to know the fact you think I have talent and knowledge, and in this part of your post I understand what you mean, but I have to tell you something too.

I don't like the fact that you put my work as "soulless", because all what I do is what I like to do and I put in it energy, time and efforts to make it the best I can, and to make it sound good and balanced and authentic according to the style I like most.

They maybe seem to you all the same because they are all happy pieces, and I don't write many things that are "soul-killing", "desperate", "where's the light in this bad life" etc...

I honestly don't get any kind of emotion from modern and contemporary music, it's not that I don't like it, because I know a lot of it and I listen to it.

Sometimes I'd like to be able to write that way too, but I can't because it is not something I feel inside, and trying to write it just to make people like you happy, is something I will never do!

If one day it is myself that tells me, ok, it's the time to go on this way too, then I will, but as long as I won't get that kind of need, then everybody that tells me I must change my way of writing music and make it more modern, can hit the wall :headwall: as many times as they like, but I won't change it, because art is self expression and not obligatory writing, and this means that

I wont censor my voice because I write in a different style than nowadays!

We are 6 billions on this planet, there are enough people to write in whatever style they like, and there are enough people to go listen to whatever style they like, and so on... "to everyone it's own".

You show no seeming interest in learning new or varying your existing techniques. Honestly, to me it just seems that you want comments on your myriad variations on the same basic set piece to boost your ego.

I don't care to get comments to "boost my ego", because I don't see any use of it since nobody is giving me money, and if you look at my posts and the amount of comments I get, it is surely the total opposite of what you just say. I don't get this huge amount of comments that make me feel like the boss in here.

If I was looking to get prised on here (to which I would expect a prize or something similar at the end of it, it would be a competition after all...), I'd have written it in the main post something like "please, give me advices and feedback! I need them! I need to see all your comments!!!" or something alike, which here doesn't happen ;)

If people comment positively to my work is not my problem. People on here just liked the music and they only shared their thoughts with me, and if they had to say something about anything they would find inappropriate, out of place or just advice me for improvement, they would have surely done it, as I have had that many times.

I appreciate any kind of comment, we are here to talk and to share ideas, as long as we stay in a polite and educate and civil environment.

Your direction in music is your choice and I am just another composer with a different opinion; I can do nothing about your personal choices, except to voice my own opinion.

Yes, everybody takes different paths, consider that, again, we are 6 billions, and this means 6 billions of different ideas, points of view, etc... even if they can be grouped into different sections, where you can find those with points in common, but those are just points... even twins have different minds and ideas.

I'll save you the trouble of a response simply by putting you on ignore and leaving you alone from this point on.

As you said... you don't like people that "churn(ing) out pastiche after soulless pastiche endlessly", and I don't like them either, but the problem is that I just found one in you, being you the same person that kind of "put me on ignore" FOR THE SECOND TIME!! But at the end you still came back home :)

This thing happened on June 11th, 2008 in this thread.

I don't know why you're against somebody that does something that he likes and you like to discourage.

I understand the fact that you would like to see also something more modern and appropriate to what is our culture and our aesthetic, but right in this moment of my life, I am not yet ready for this change.

Punkititi please ignore Flint-ww's desperate attempt at attention. It's obvious that he feels highly insecure about his own lack of composition skills and feels the need to vent his frustration at someone that he knows won't fire back. And to think that he's supposedly a 'moderator' (lol what a joke). It was one of the most comically desperate and puerile "critiques" I've ever read on here. It's sad that Flint-ww will never have the musical technique or talent that you possess. Did you hear his "oboe concerto?" It's not 1/10th as good as your "soulless pastiches" and it is in fact itself a soulless pastiche of long forgotten 20th century composers who no one cares about and no one goes to listen. At least if you're going to copy someone and write pastiches, why not copy composers everyone loves like those that Punkititi uses as inspirations, Flint-ww is a bitter mediocrity copying other mediocre 20th century hacks.

His music is truly sad and so are his attempts to jealously deride your superior works.

Keep on writing and don't let these 2-bit hacks and mediocrities get you down Punktiti, you have more talent and musical knowledge than someone like Flint-ww will ever have in his life. :laugh:

I'm sorry, while Flint's comments may have been a bit (ok, a lot) harsh, there is no reason to resort to such a level of character assassination.

While you might not like Flint's music, you are not free to gratuitously make these comments in a thread having nothing to do with his music. If you really want to go ahead and attack him, do so in his threads.

As for Punkitititi's music, if he cannot defend himself, then that is his own problem. There is no need for anyone else to come in and do it for him.

As for this piece, well, it didn't appeal to me either.

Notice, I haven't commented on it other than to ask why the OP didn't simply use modern horns in F.

As for skill, I think Punktititi has a good ear for imitating certain types of baroque music. There's a paucity of counterpoint, making for less-than interesting music even within the scope of the period pastiche. So I wouldn't go so far as to laud his efforts with such superlatives as "best composer on this forum". There are a few others who merit that distinction more-so.

First of all I can defend myself, and I did so just in page 2... and it is all well stated.

If RequiemAeternam felt the need to express his thoughts and defend an idea, ok, maybe he has been "a bit (ok, a lot) harsh" too, but it happened.

as for this piece, I didn't post the ultimate minuet, and I didn't want to change or do anything new in this form, I just wrote a minuet, and so far I have written more than 40 minuets for orchestra, as dance music only... without considering the minuets in several of my symphonies and in some other works in which I wanted to use that form.

and plus, this is not baroque, this is classical, if you can't distinguish that, I wonder how can you say things about my counterpoints skills, and plus I remember you that I studied it all by myself, I had 1 teacher for counterpoint for 10 months only, and that was it. but from 1999, to now I did it all with my sole forces, reading and studying it.

So, before talking, you should see what's the background of a person and not base it all on appearances.

I said baroque because that's what you usually post.

I never bothered listening to your piece, because it holds no interest what so ever for me.

I listened to a few seconds of it, and yeah, it's barely classical. it sounds like early mozart.

it's still pastiche.

I'm not sure what the fact that you haven't had a teacher since 1999 has to do with anything. it certainly doesn't make your music any better. and 10 months of counterpoint is barely enough to scratch the surface of the topic.

and do notice that until this point, I have refrained from commenting on any of your pieces, musically. I see no point in it. if you are happy doing what you are doing, then by all means, continue.

however, I can't help but feel a sting when someone posts about your pastiche and calls it brilliant and says you're the best composer on this forum.

I'll be joining flint in ignoring your posts from now on. not for any anger or ill-will, but purely from lack of interest in what you have to offer.

I said baroque because that's what you usually post.

I never bothered listening to your piece, because it holds no interest what so ever for me.

I listened to a few seconds of it, and yeah, it's barely classical. it sounds like early mozart.

it's still pastiche.

I'm not sure what the fact that you haven't had a teacher since 1999 has to do with anything. it certainly doesn't make your music any better. and 10 months of counterpoint is barely enough to scratch the surface of the topic.

and do notice that until this point, I have refrained from commenting on any of your pieces, musically. I see no point in it. if you are happy doing what you are doing, then by all means, continue.

however, I can't help but feel a sting when someone posts about your pastiche and calls it brilliant and says you're the best composer on this forum.

I'll be joining flint in ignoring your posts from now on. not for any anger or ill-will, but purely from lack of interest in what you have to offer.

Notice I too have never commented on either yours or flints music. Because I consider it mediocre pastiche of other tired 20th century composers. Let's be honest, all styles have been done before including that which you and flint utilize. Thus by definition YOUR style is also pastiche.

You feel a slight STING when someone considers his music to be great yet you don't feel it is wrong for someone that is ADMITTEDLY not interested in said music to come into this thread and completely character assassinate Punkititi? You claim that if he can't defend himself that's his problem, yet the coward ran away and gave him no chance to defend himself because if you weren't paying attention he(Flint) expressly said that he will be putting him on IGNORE - thus obviously precluding any attempt of Punkititi's at defending himself and his music from the vile character assassination that Flint aspersed him with.

If neither you or Flint are capable of composing TONALLY as well as Punkitititi and feel the need to enviously detract from his work that's fine, but you should all take your own advice and simply STAY OUT of threads that don't interest you in the same way that we tonal composers stay out of the threads of atonal works that don't interest us.

If you, a grown man, have THAT much envy as to openly admit that you are unable to deal with other people praising someone's work then that I'm afraid to say is YOUR problem not Punkitititi's. It would do you well to learn some humility because let's be honest here for a second: if a CD containing your and Flint's atonal 20th century pastiches was being sold next to a CD containing Punkitititi's classical/baroque revivalist pieces then I guarantee 100% his CD would outsell you through the door because the vast majority of people in this world would rather listen to his music than to the tired atonal pastiches the likes of Flint composes, and THIS is why he receives so much praise.

Maybe if you all would like an equal amount of praise you should study up on your counterpoint and tonal harmony and perhaps one day you too can be good enough to compose such works. Until then, please keep to your own atonal corner and leave us serious composers alone.