Orchestral Overture in C-sharp minor.

Unable to sleep once again, this early morning I have managed to compose a Late Romantic-style overture for string orchestra. This piece's overall character stems from the metaphor of a harsh storm passing, as hinted by the German title shown in the score: Der abflauende Sturm. Albeit short, compared to my usual standards it is both quite emotional and reflective simultaneously as I tried to pour my feelings on the current state of affairs in my life into music, and I must say, in terms of either harmonic variety and dynamic expression, I think it turned out better than I could have ever imagined, especially considering the fact this work and its idiosyncrasies are pretty far removed from my usual compositional style.

Enjoy!

YouTube video link: 

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On 5/2/2025 at 8:41 PM, FILMSCORE said:

X-C-LENT !

[...]

Thank you, I guess.

That's certainly an interesting assertion coming from someone who would otherwise call true masterpieces such as Henry's String Sextet "static" or lacking in "originality", "style", and "uniqueness" though, so taking your word on just how compelling the quality of this humble work of mine may be might as well seem like a fool's errand, to be sure.

Also, I'm not entirely sure why you would feel the necessity to make a wholesale montage of the score's first page, but props for the editing skills I suppose.

It is a beautiful little piece of work.
I think that in this romantic style, the background of the counterpoint, which is what (I think) you master the most, is more than fundamental. Although some people don't pay it the attention it deserves.
It's very emotional and that's why it's in the style.
What I think is less frequent is to use the picardy third at the end.

Greetings.

1 hour ago, Luis Hernández said:

It is a beautiful little piece of work.
I think that in this romantic style, the background of the counterpoint, which is what (I think) you master the most, is more than fundamental. Although some people don't pay it the attention it deserves.
It's very emotional and that's why it's in the style.
What I think is less frequent is to use the picardy third at the end.

Greetings.

Buenos días, Luis.

Thank you very much for your kind words. As for the picardy third, its usage here isn't merely just a stylistic preference, it's also intended to be symbolic in nature, as the piece is sort of meant to evoke the feeling of a raging storm finally coming to a standstill, and that picardy third at the end represents the final glimpses of sunlight amidst the dark clouds, as well as the enlightenment that befalls a period of great pain, confusion and soul-searching. A subtly fleeting glimmer of hope, the omen of a rainbow as the ever-creeping conflict suddenly comes to an end.

Muchas gracias por todo. 🙂

Of course, yes.
I understood the intention of the third of mischief, giving a more optimistic ending.
What I meant was that it's not something that romantics did. If we get into their way of thinking, everything was sad and gloomy in these kinds of pieces.
But, of course, it's a choice to use it.

Thankyou for your Inbox-Message............................................But theres no need to worry.

30 minutes ago, FILMSCORE said:

But theres no need to worry.

There's indeed no need, Pabio was trying to save your face but you just openly disclosed the inbox message yourself by posting. That's really X-C-LENT!

On 5/5/2025 at 6:54 AM, Henry Ng Tsz Kiu said:

There's indeed no need, Pabio was trying to save your face but you just openly disclosed the inbox message yourself by posting. That's really X-C-LENT!

Thankyou ....................................That "Inbox message"..................... was A clear Case of Toxic-Masculinity

https://www.youngcomposers.com/t43349/is-there-a-culture-of-toxic-masculinity-at-ycf/

22 minutes ago, FILMSCORE said:

That "Inbox message"..................... was A clear Case of Toxic-Masculinity

I have actually seen that post you have made and I actually thought it was really interesting since it came out from you.

1 hour ago, Henry Ng Tsz Kiu said:

There's indeed no need, Pabio was trying to save your face but you just openly disclosed the inbox message yourself by posting. That's really X-C-LENT!

It's actually quite funny how this person couldn't be bothered to read between the lines and as such your comments' whole point flew right over their head. Really amusing how they have essentially exposed themselves by trying to expose me, like calling them out in private for these immature tactics they're displaying at any point warranted  any kind of convincing response.

Moreover, playing the victim card by accusing me of "toxic masculinity" or whatever for defending myself and pointing out what they're doing is pretty low, specially coming from someone repeatedly showing this kind of behaviour.

Anyway, not much else to be said about this person, by their actions it should be fairly evident by now that they are clearly ill-intentioned and ostensibly incapable of taking criticism or self-reflection. Thank you for your help nontheless, Henry, as I would have otherwise lost my temper and wasted my time and energy all by my own on someone who plainly does not deserve either of those.

Hey Pabio,

Out of the meaingless drama, let's move on to the music itself:

I enjoy this one thoroughly Pabio! I feel like you are really allowing yourself to express yourself fully here. The most lovely thing is that you still maintain your control of counterpoint and you are really using those counterpoint for great emotional effect here. All the dissonances are so well handled and I love all those Mahlerian dissonances, and to be honest your prelude here really reminds me some of the first movement of Beethoven's mop.131 with the sadness and tragedy you portray here, It also reminds me Ivan's great prelude posted not long ago:

Thx for sharing this great expression!

Henry

On 5/7/2025 at 7:17 AM, Henry Ng Tsz Kiu said:

Hey Pabio,

Out of the meaingless drama, let's move on to the music itself:

I enjoy this one thoroughly Pabio! I feel like you are really allowing yourself to express yourself fully here. The most lovely thing is that you still maintain your control of counterpoint and you are really using those counterpoint for great emotional effect here. All the dissonances are so well handled and I love all those Mahlerian dissonances, and to be honest your prelude here really reminds me some of the first movement of Beethoven's mop.131 with the sadness and tragedy you portray here, It also reminds me Ivan's great prelude posted not long ago:

Thx for sharing this great expression!

Henry

 

Thanks for the reference. What did happen here though? 😶