Night and Revelation

I am drawn to the second section much more than the first. I love the constant bass drum/timpani...not sure...i am not looking at the score like I should be. The over all vibe is very nice.

Thanks, I'm glad you liked the second part, as you can read (in page 1) most members like the night (because is somehow like perfume), but like you (we the tough guys hahaha) , I like more the second part, I wrote it because I was feeling the first part was not enough, that some ACTION was needed

my favorite part (you should see the score, now that you can ) is from 13:48 to the end (score page 65-84), first that part with the timpani (13:48-14:02), then the main climax-decress (14:03-15:04) and the very last exposition of the main theme in the high violins (15:08-End) to end in a very serious calmness, with my signature (the 4th) on the english horn ....

If you can/like listening without score I invite you to visit my other work The Warrior of the Iron Mountains Op.12 (kinda ignored because I posted it without the score and with a laaaaarge description)

I shall move some of my old threads from the archive to the new YC, I'm just waiting until all bugs are fixed.

Thank you for listening...

I like this a lot. The climaxes have tinges of Shostakovich that I find especially enjoyable.

What programs do you typically compose in? I need to move on from Guitar Pro 5. haha

Thanks for listening.

yeah, I suppose there's some Shosty in the second part, I'm glad you enjoyed it.

for orchestral works, I write directly in Sibelius, and usually record there too, but the render you heard was made on Cubase. I write in Sibelius because is just the same that writing in paper, just faster and you're able to delete and edit easily, (and Listen :D )

I need to move on from Guitar Pro 5. haha

Oooooooh I super agree

I will be honest, I really enjoyed the Night movement more than the War movement :( I'm sorry -- after such a wonderfully imaginative and beautiful use of harmony and development in the 1st movement, the "sterility" of the War movement sticks out like a sore thumb. It's not even badly written or anything remotely like that -- it's just really standard sounding. I'm all for intensity, but it felt kind of cliche, like a typical Hollywood flick or something. But I also see that this is a good thing, in a sense -- I think that a lot of people would really start to see the emptiness of these kind of pieces when put side by side like this. Re-writing the same piece is really lame, Hollywood composers, take heed! :(

I hope you don't find my comments insulting, they actually only sound more negative than they really are -- I truly did thoroughly enjoy this meticulously crafted work, Daniel!

After listening to this whole thing, I feel like I've had a veritable feast :D Thank you for sharing! :nod:

Thanks for listening...

There are no beauty in a battle, only loud metal strikes (or gunshots) again and again for hours...

in previous pages I have try to explain, I will again, now in sculpture:

1st part, detailed and imaginative...

2nd part, Big, cold, inert.... (loud)

I didn't write the second part that way because that's all I can do, or I wouldn't have written the 1st one.

Besides this work is about myself, actually my favorite segment is the timpani part previous to the greatest climax, there to the end, (not within 1st part)

You know.... I feel this work is more difficult to understand that I thought... I bet noone really catches the deepness of the ending, with the very last appearance of the theme in total softness.

EDIT:

have anyone have watched the movie "Alfred the Great" ... when the Vikings army is waiting to attack, the repetitive shouts they do ? you think that's beautiful, or has development ? no, that makes you wish you wouldn't be there.

Nice beginning, grabs me without being in my face. The piece does a great job building to a full lushness at 4:20.

Great use of percussion - they keep the rhyhtm moving around 7:00, outlining things subtly.

The theme at 7:30 which goes all the way down an instrument's range -- be careful there, it's a little repetitive and I worry about how big a range that is on one instrument.

Way too harsh change ot the B Section. Why not have more of an effect by making the difference so much more subtle? "Where am I?" is a lot less disorienting than "How Did I get here?"

The faster section is so much less intriguing to me. All the subtlety and ambiguity of the first section is gone -- replaced by bombast. I guess that's the point, but it'd be nice to see the similarity rather than the difference here.

Again the chimes outline subtly -- somethign that stands out here because of the lack earlier, almost like an ABA, but its a bit too late.

The piece ends without any real focus -- it just kind of winds down, with nothing to say "this is why i'm done." Your program stuff in the thread doesn't really help with that. I see you claim the theme comes back in total silence, but as we all know with serialism, just having the theme come back isn't enough to have us hear it.

I really would liked to develop more the 2nd part, but this was planed to 12 minutes and it was getting to long already, that's the only reason I retake the motif and end :ermm:...

I think it has been said enough of this no ? :laugh:

I do appreciate your comments, THEY DID WORK and made me learn thinks, is quite clear in my Op.31.... Thanks for listening, and for your reviews. To get rid off all this I have already started a piece that every single one of you will love, wish me luck with this project, will be much better that this.

(what range you're talking about ? the super high violin is playable, the low Bb in trombone too as far as I know...)

Weca wrote "You have a very good sense of development and harmony", i completely agree !!!

the night is superbe.

i didnt like the war: it seems too "standard war film" and the rhythm is too simple and constantly (sorry 4 my english...)

and really i dont need to hear the section about 10'.... :rolleyes:

nice the difficoult ending decrescendo.

everyway, a professional work !!

ps

i cant believe its Edirol orchestral: i use it too but sounds very different.....

Thanks for listening,

You know what, you all may no believe this, but I wasn't even thinking in a movie in the 2nd part, like I said, the only movie aspect I wanted to follow was the very high violins in the 1st part, like the 70s movies...

The only "failure" in 2nd part I admit, confess, recognize, etc... is the kinda "ritornello" at 12:00, the segment 8:38-12:00 should be larger and more developed before restarting the whole thing, I did realize of this problem from the very beginning, BUT i had no choice, like I said, this was getting too long already :(.

Also, the recording influences you more that you think, I'm already tired of that EDIROL timpani, I think that fff roll completely spoils my greatest climax, I assure you, that part, in real life, with a good conductor, is powerful like God's finger.

Percussion - in general, they don't really care in orchestra. They're happy playing something interesting, they're happy not playing at all. They're probably the group in an orchestra you can abuse the most... so I'll leave all of that up to you.

This is truth, I am a percussionist and what you have written here is more exciting that probably 75% of orchestral literature that I have performed. So it would be nice having more orchestra pieces with this type of percussion.

For the composition itself, I think there are MANY differnt things in here that are great. For instance I really enjoyed when it was just the string in the second movement. The harmony and the progression in the first movement is wonderfull. I wont say too much because it's about the same as anyone else that has already said something about it, This is wonderfull for background music but is just a little too repetitive (in my opinion) for a concert ensemble.

Hey Thanks for listening,

I used to call more percussions, but in this project I wanted to keep it "normal", I usually call for Vibraphone too, sometimes a 2nd timpani set, (when larger orch) more cymbals, (like chinese) and other thingies... The ones seems I cannot compose with them, are Glock, T.Bells, Tam-tam, Oh, and this was the first time I didn't use the Piano.