Concerto in F minor for Harpsichord and String Orchestra

Hi all!

MASSIVE EDIT:

All of the previous posts on the individual movements have been consolidated into one thread, thanks to chopin :)

Just a bit about each movement:

I - Though the solo line seems a bit sparse, I chose to leave it alone. I like how the harpsichord picks up on the orchestra's material and transforms it throughout those long arpeggiated sequences.

II - Where the first movement showcases the orchestra a bit more, this one is all about the harpschord. A lot of imitation going on in the solo part, with a number of different recurring figures. Concludes with a Phrygian cadence.

III - A lively jig, with melodies dueling against each other in canon (mostly the keyboard part). Also features some call and answer between the keyboard and the orchestra.

It's the three on top, in order: http://www.soundclick.com/bands/pagemusic.cfm?bandID=430217

Feel free to comment and critique!

- BE

it is a very well written piece, sober, well balanced and fluent, with flawless harmony and interesting dialogues between solo and orchestra. anyway i think that you could add more fire specially to the solo part. although it is nice as it is, the solo voice is somehow predictable or maybe too much shy, attached always to the same patterns of motion and melodic design which are basicly chords in arpeggio. there is less melodic boldness and adventurousness to this voice than i could expect from a soloist. that can be just my taste, but maybe more surprises, allowing your Muse to open full wings and fly, could add a greater appeal to this already fine composition. best regards.

Very wonderful! I loved it. I would like to hear it faster :huh:. You should email me the MIDI. I would like to look at it.

To frantz:

i think that you could add more fire specially to the solo part. although it is nice as it is, the solo voice is somehow predictable or maybe too much shy, attached always to the same patterns of motion and melodic design which are basicly chords in arpeggio. there is less melodic boldness and adventurousness to this voice than i could expect from a soloist. that can be just my taste, but maybe more surprises, allowing your Muse to open full wings and fly, could add a greater appeal to this already fine composition.

Thats exactly what I was thinking. Though I feel the arpeggio motions were acceptable, as they are present in the ritornello melody, there could have certainly been more zest in the solo line. I think part of the problem was that I was still stuck in the "orchestral writing" mode of thinking when I was writing the solo line. If there was a way to make it feel more improvisatory, that would be great. That would take some playing around at the keyboard.

As a keyboard solo, it's not very impressive, but would the current solo line be more impressive if played on a violin?

And Brandon, thank you! I'll be cranking out a faster version in a bit .... with violin solo.

maybe the change of instrument could produce a more appealing effect, but is just "effect" what you look for? i am sure you are fully able to introduce some spicy and meaningful touches into the soloist part without changing the instrument, which is a very fine choice. the arpeggio writting work very nicely indeed, the concert is really enjoyable, but you could just make a further effort to improve it and making it really remarkable. you are not far from that, because the main work is already perfectly fashioned, missing just those bold and original details that make all the difference between a good piece and an outstanding one. maybe a good idea would be to rest for a while till you can gather new forces and inspiration. i suppose that to compose a full concert would be a tiresome effort! when one concentrates too much on a single work sometimes one often misses new and important ideas that float around the focus. just take a time to refresh your mind and later you will surely return to the composition with the needed solution. this material deserves that! good luck! i am looking forward to know the result!

Alright then, I'll sleep on it and see what turns up. Thank you for your advice :D !

Hey! Good job! :) I like it, although i do agree with them that the solo part could be a little bit more interesting at the beginning. At 3:40 it is very good. Reminds me of Vivaldi, which for me would be a very good thing. ;) So yeah, at 4:15 about, it sounds sooooo good. Im not sure if its Bach or Vivaldi or who but it sounds great. I like how you repeat it again at 5:27.

Just out of curiosity, what is this scored for? ooooh, nice major chord at the end. As it was coming to it, i was like "hmmm this would be a nice ending" but uve already done it, so good. :) I'm not sure if this is a very baroque-ish thing to do, but maybe add a cadenza? Anyway, great job. I look foreward to hearing the other mvmts. :blink:

If what you wanted to do was to create a piece in the style of Bach and Handel, you've succeeded. Congratulations. This piece, though not necessarily "original," was nonetheless a pleasure to listen to. To reconstruct music in any style is a daunting task, especially if that style has essentially died out. Remember that back in Bach's day this kind of music was heard everywhere, so writing it back then was like writing a pop song today.

Still, I think you've created a very complex and in depth piece of baroque style music here. I really have nothing within the piece to criticize. Perhaps somebody who knows a bit more about baroque music can tell you what you can do to imitate that style even more closely, but for my part I wouldn't change a thing.

Thanks for the input, Resse :)

This is a spectacular piece of music. Hearing this quality of music being written in a "historical" style has been one of the most exciting and unexpected treats I've encountered on this site. To my ears it is entirely true to the style, yet has it's own voice. Very, very nice playing by the way. Sounds like you have access to a good instrument too.

Hi all!

MASSIVE EDIT:

All of the previous posts on the individual movements have been consolidated into one thread, thanks to chopin

Just a bit about each movement:

I - Though the solo line seems a bit sparse, I chose to leave it alone. I like how the harpsichord picks up on the orchestra's material and transforms it throughout those long arpeggiated sequences.

II - Where the first movement showcases the orchestra a bit more, this one is all about the harpschord. A lot of imitation going on in the solo part, with a number of different recurring figures. Concludes with a Phrygian cadence.

III - A lively jig, with melodies dueling against each other in canon (mostly the keyboard part). Also features some call and answer between the keyboard and the orchestra.

It's the three on top, in order: http://www.soundclick.com/bands/pagemusic.cfm?bandID=430217

Feel free to comment and critique!

- BE

http://www.soundclick.com/bands/page...?bandID=430217

This link doesn't work.

Try this one: http://www.soundclick.com/bands/pagemusic.cfm?bandID=430217

It seems to work for me, the URL is intact, even if it doesn't read that way.

- BE

Just listened to the Vivace. I don't find this to be nearly as adventurous (especially harmonically) as some of your other works. Your thematic material is very simple, which, while I'm sure makes it very accessible for many, doesn't hold my interest.

Occasionally, it seems as if your are sneaking in an aire of classicism to this work. And you'll have to forgive me for not being able to articulate it very well, but for instance, your cadences (phrasing) and larger harmonic motions remind me of Handel in places.

While on the one hand, I am critical of the adventurousness of this (I just wish it was meatier), I am intrigued by what I perceive to be a stylistic approach that involves a morphing of different eras.

Of course, I may be way off-base here. I am in no way an expert on this stuff. I'm probably just educated enough in the nuances of these eras to get myself in trouble, and obviously, your level of expertise is significant. As is usual with your music, this piece is very well crafted with a high sense of style.

Hopefully I can find the time to listen to rest of the suite.

While on the one hand, I am critical of the adventurousness of this (I just wish it was meatier), I am intrigued by what I perceive to be a stylistic approach that involves a morphing of different eras.

Of course, I may be way off-base here.

No, thanks for the critique. I appreciate it.

On being adventurous harmonically: I guess I wasn't as focused on that when writing the third movement as I was with the first movement. I was thinking more of imitating horn calls, so perhaps that's why you were reminded of Handel?

On morphing styles: Not too sure, is anyone else picking up on that?

Hopefully you'll be able to find more meat in Mvt. II, leightwing!

- BE

Well, it sounds like I have already listened to the Adagio-Allegro. I'm guessing I have already commented on it elsewhere, but suffice it to say, I love it. The weaving complex melodies (especially the first theme), and textural explorations set the bar very high for the next two movements.

Just a silly question. Why end the first movement with a Picardy and the last without?

Just a silly question. Why end the first movement with a Picardy and the last without?

Hmm, that is a good question. I guess that because that there's such a prolongation of the material before the final cadence in Mvt. I, it made sense to bring that final release with the Picardy third. Mvt. III 's conclusion is just a repeat of the initial jig, with barely any frills, so I left the cadence as is.

Thanks for the input! I would still love to hear your thoughts on the second movement though! :(

- BE

G'day BE,

I've listened to the first movement and I think you've done a fine job with it. As another poster has mentioned, there is nothing awkward or harmonically offensive (or generally speaking, musically offensive). The opening Adagio and Allegro is really pleasure to listen to - up to a point.

However, as with many other baroque pieces, I tend to tire of the reliance on alot(some is good) of straight bar by bar(or strong/strong, weak/weak beat) sequencing and lack of rhythmic(in melody and harmony placement) interest. Around 3

Although I enjoy Baroque music alot, there is much by great composers that, while enjoyable, is tiring (to me) for the reasons stated above. This is why my tastes run more to classical/Romantic music.

Perhaps you'll find this work of mine a bit more interesting, Paul:

http://www.youngcomposers.com/forum/showthread.php?p=55301#post55301

I'd still prefer the concerto over this one any day, though.

- BE

very fine your last 2 mvts to this concert! they stand in the same high level of composition. very well constructed and harmonized. the 2nd bit is very sweet and fluent, a delight! the last mvt. is great too, the textures and dialogues solo/orchestra are very rich and the solo part is much more engaging than in 1st mvt. very well done!

by the way the organ version is absolutely fascinating, really imposing, a flood of rich sounds. excellent choice at all, for my taste is surpasses the original having a grandeur and brilliancy which lacks in the harpsichord version and seeming conceived first to the organ, such fitness to the king of the instruments. my warmest regards!

Thank you frantz, I'm glad you could enjoy it!

I should be recording the rest on organ, as soon as I find time to bring my equipment down to the church, so look for it soon :D.

- BE

Thank you frantz, I'm glad you could enjoy it!

I should be recording the rest on organ, as soon as I find time to bring my equipment down to the church, so look for it soon :P.

- BE

wow, great! i will!

I like this music, te color of the harmony and the melody.

Mr. Schroeter

Thanks for your input, Mr. Schroeter! :angry:

- BE

My suggestion is to make the last chord a bit longer, as I feel the jump from the grave into the Allegro is a bit too.. well.. abrupt.

Yea, I noticed that too. Not a big problem though. :) Thanks!

- BE