Interlude: An Homage to Dmitri Shostakovich

This work is written for a chamber orchestra: 1 piccolo, 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 trumpet, 2 trombones, and strings.

While I'm late to the party in terms of liking the music of Shostakovich, I learned a great deal in studying his scores over the past few months. Luckily, I can say that we are quite grateful that we didn't have to endure the types of things that this great master did -Ik I for one wouldn't be able to write a large majority of my works had I been in his shoes. Hell, I might've ended up in the gulag!

That said, I present you my homage to Shostakovich. 

Already two Shostakovich elements right at the beginning with the DSCH motive and the crescendo! I really don't have any critical review in this as I enjoy the whole piece!

I wanna ask about the piccolo in b.22-24. Is that the special timbre of a low range piccolo you want?

Will a tremolo for violins in b.56 to 60 to quick for you? I think it will be more excited, though it's subjective.

Thanks for sharing Jason!

Henry

One of the most shocking things about Shostakovich's music, for me, is his ability to build a climax. Fortunately, I could attend in the pst to some live performances of his symphonies.

Her I see that big use of the climax, but there are other remarkable points: the counterpoint (I think Shostakovich was also a master), or the atmosphere that the strings create in some parts.

The only part that I feel a bit confusing is measures 13-17, in which I hear an addition of dissonances or clusters in a row... ¿?

In all, very enjoyable piece.

1 hour ago, Luis Hernández said:

One of the most shocking things about Shostakovich's music, for me, is his ability to build a climax. Fortunately, I could attend in the pst to some live performances of his symphonies.

Her I see that big use of the climax, but there are other remarkable points: the counterpoint (I think Shostakovich was also a master), or the atmosphere that the strings create in some parts.

The only part that I feel a bit confusing is measures 13-17, in which I hear an addition of dissonances or clusters in a row... ¿?

In all, very enjoyable piece.

 

It’s not a row. That passage is comprised of the dsch motif alone with each transposition offset rhythmically. 
 

I do take the dsch motif at the end of the 1st climax and transform it into a row (the walking bass line that ends that section).

8 minutes ago, jawoodruff said:

It’s not a row. That passage is comprised of the dsch motif alone with each transposition offset rhythmically. 
 

I do take the dsch motif at the end of the 1st climax and transform it into a row (the walking bass line that ends that section).

 

I didn't mean a dodecaphonic row, sorry. I wanted to say (sorry for my English) "one dissonance after the other".

1 minute ago, Luis Hernández said:

I didn't mean a dodecaphonic row, sorry. I wanted to say (sorry for my English) "one dissonance after the other".

 

Ah! No worries!

Anyways, your skills in modern counterpoint are awesome and I want to learn from you. I love contemporary languagesand I've done many things in this atmosphere. But now I'm focused on the galant style. I think soon I'll be back.

1 hour ago, Luis Hernández said:

Anyways, your skills in modern counterpoint are awesome and I want to learn from you. I love contemporary languagesand I've done many things in this atmosphere. But now I'm focused on the galant style. I think soon I'll be back.

 

You probably remember when I first ventured into modern terrain. It was difficult at first. What helped me was lots of composition practice. And make sure to FINISH the piece no matter how bad you think it is. There’s something psychological about that step. Also, your ears are more of a guide then your eyes will ever be. Often times we tend to put so much stock in the theory that we lose sight of what we’re writing for to begin with!