Donc, ce sera par un clair jour d'été - "From Nothing, to Something" Summer 2026 Composition Competition Submission

Attached is my submission to the "From Nothing, to Something" Summer 2026 Composition Competition Submission. I decided to set Verlaine's original French poem for two vocalists (solo soprano and solo tenor). To fit the French vibes, I rounded out the ensemble with a trio of flute, viola, and harp.

The French sound I continued into parts of the harmony, opening with chords mostly made out of whole tone scales. As for form, the tenor takes the firs stanza, the soprano second with a mixed around order of phrases, and then they sing primarily together for the final stanza. I was composing this with professional players in mind, so the parts are of a higher difficulty level.

Program Note:

This setting, originally created for the Young Composers Forum "From Nothing, to Something" Summer 2026 Composition Competition, casts a different light on Paul Verlaine’s summer love poem, Donc, ce sera par un clair jour d'été. With the challenge being to capture the sensation of summer, I hoped to focus in on liminal moments throughout the season. The two vocalists, being the depicted couple in Verlaine's poem, first sing individually to each other, telling of the fleeting beauty and pleasure found in a summer love. Finally the two join together in harmony, as the stars look down gently on husband and wife.

Devor - Donc, ce sera par un clair jour d'été_FINAL.pdf

This sounds like a beautiful and atmospheric composition. The combination of soprano, tenor, flute, viola, and harp should create a delicate, summer-like sound. It would be a lovely piece to discover through a music app or playlist.

Hello @JDevorMusic,

thank you for sharing such an incredible piece of music, and by the way – a hearty welcome at the forum.

Interestingly, the very first submission to the competition, and the last one – so far – have the same instrumentation, a flute, a viola and a harp (while you’ve added two vocals).

Melodies Themes Motives and Harmony Chords Textures:

There is a memorable motif that recurs throughout the piece and is first introduced by the flute in measures 4–5. The sung poem features relatively long note values or coloraturas for the faster notes, so that the vocal parts are somewhat reminiscent of Renaissance singing.

The accompaniment contrasts that with its – one the one hand „percussive“ arpeggiated chords – and, in other passages with energetic ostinatos (on the harp or viola), so that the piece unfolds a varied texture.

As a piece in „contemporary style“, or to be said „atonal“, it is difficult to speak about „harmonies“ in the traditional sense. However, there are some chords which could be perceived as „pentatonic“.

Form Development Structure Time:

The piece has no „traditional“ form (such as sonata or rondo form), but is clearly structured due to the realization of the poem as a modern „aria“ (or better duet), with passages of increasing tension and „rests“, calming down between the stanzas. And finally, you were thoroughly enough to meet the requirements of the competition by finishing the piece exactly at the 7:00 minute limit.

Originality Creativity:

This piece is absolutely unique among all the submissions, obviously for its atonality, but also because of its detailed and meticulous craftsmanship.

Score Presentation:

The score presentation is absolute professional, starting with the title page, preface (including instrumentation, program notes etc.) and is full of information.

So I didn’t look around to find some nitpicks but was rather impressed by the vast majority of details, including markups on articulation, playing instructions, harp pedals, breakdown of compound meter signatures etc.

Instrumentation Orchestration Playability:

The instrumentation works well, the three instruments from different families blend together and complement each other in their timbre, as well with the vocals.

As for playability, you yourself mentioned the the difficult level, which would be suitable for professionals only. And I'm sure you've checked all the passages for “unplayable” notes or chords.

Execution of Given Challenge:

Your piece represents a very thorough realization of the task of the contest: To take Paul Verlaine’s poem and create „Something“ in music. The question remains, whether the dissonant character of this contemporary piece will evoke associations with summer, beauty, and love in the majority of listeners.

Taste:

That might be the problematic part. For me, it's a fascinating piece when I can really focus on it (maybe during a live performance). But I don't think it works as well if you're just listening to it in the background.

Average Score: 8.5

Great work nothing to really criticize just some curiosities though since you definitely milk the hell out of almost every instrument in that piece with experimental extended techniques, I’m a strings player so I understand more information about the viola stuff and some information about the flute stuff. I’ll definitely be studying the harmonics and how flute harmonics work. (wood wind harmonics are a big part of my next upcoming composition for large Orchestra. “morse”). Anyways, the textures are amazing in the harmony, though is dissonant works extremely well with that dreamy quality of the whole tone scale.

Time for interrogation in my assumptions

again, this is more about curiosity as that these techniques are not thoroughly explained either in the actual score or in performance notes

1. Xyl. -harp- i’m assuming this is a xylophone sounding technique though I don’t know how exactly is it to be reproduced I’m assuming that you kind of just strike the fingers against the strings

2. bamboo tone flute- this is pretty self-explanatory as in the idea that they’re trying to achieve a sound similar to a bamboo flute, but how could it be reproduced?

3. how is a jet whistle produced I’m assuming that you make a jet of air near the opening mouthpiece of the flute, but harsh enough not to make an actual sound

4. for the flute harmonics there’s two ways I could feel about them that first they are usually used as a method to extend the range so they are played as a normal actual technique used in producing a “normal” sound , are the flute harmonic similar to artificial harmonics on string instruments?

average 9.26. I also have watched part of your live stream about the composition process so that was nice only though five minutes of some parts. I don’t know if you explained the techniques there so I may have to look back.

Anyways, other than the lower score for originality due to the convergent factor of all the pieces of this competition almost having the same aesthetic it was a very nice piece and it was amazing. Great job and I hope you join more competitions in the future.

Hi James,
Welcome to the forum and thanks for submitting this work! It's been wonderful seeing how various people have tackled the challenged I have laid out. Now, I am in the process of doing my reviews and it has come time to leave one here!

To preface, I wish to address some things. I am a tonal composer and while I have written post-tonal, or post-modern, I have only done so in the academic scene. My taste is to romantic soundscapes and I may not be the best suited to properly address this work. However, I wish to give it my best shot!

ENGRAVING:
The engraving of this score is meticulous and leaves no errors. My only comments here is that in your copyright footer on the first page of the score, you misspelled "LLC" and put "LCC" instead. Just a heads up before you sell this work elsewhere. Another picky thing is with the front matter, I am not sure you need to specify "written for the YCF competition..." twice: before the notes and above the title on the first page of score. It makes more sense to see a dedication for the ensemble above the title or to the organization of the event versus saying "written for XYZ" twice. Seems a little redundant.

The last picky thing is the page 19 to the end in the harp. I feel there is a better way to notate the cluster arpeggios. The accidentals tend to stick out way too much for me to say it makes sense. Visually it seems a little silly, especially the last harp chord. To me, even for those moments, using two stems, an extra stave, or voices to notate the individual notes, or help spell them out may be better; lastly, use of enharmonic spellings to keep the accidentals uniform (all sharps or all flats) may prove beneficial. (unless the goal was for every string to be used, which aha! That makes sense for varying accidentals)

Essentially, I am reasoning that it may be more effective if you make the readability easy for the performer because a lot of challenge will go into the playability and technique. Some of your pedal changes are cumbersome for a harpist. Outside of these comments, nice work!

MUSIC:
This to me, is the hardest to review as personal taste plays a factor. I did look at some snippets off your Instagram and Twitch of the process, but I do not have the time to do a proper analysis, which I feel may benefit my own understanding. Your use of the whole tone scale is most prevalent throughout the work, and there are certain motifs that come back and can be remembered by a listener during the duration. The form, if applicable seems to be a large binary with sub-forms within them. These forms being separated at rehearsal-J with the harp to break the piece in two. However, to me, the midi doesn't do a good justice as it seems quite monotonous, even though the score has very strong dynamic implications and a singer would actually sing the written lyrics.

To add, when it comes to the context of the competition, it casts more a dream than a romance. The soprano and tenor help the visual of two partners, yet, the nature of the work doesn't cast unbridled love, but a complex and troubled relationship in my opinion. Verlaine wrote this before the marriage to his Fiancée and there is a level of raw joy he may have felt. The ending of the work, after rehearsal-J seems to better capture that point, versus the front half, which is weaker in my opinion. As a chance for another to give a better addressed review, I believe @HoYin Cheung will have the tools for more direct feedback.

Good work on this piece, and we'll be eager to see what you create next!

Hi @JDevorMusic !

Technically this should be the most complete piece of the competition! The harmony and mood are the most varied, the use of motives very notable and coherent, instruments, like @Fruit hunter noted, are extended to their utmost potential. I like your use of whole tone scale which definitely makes the music sound impressionistic and French. The piece keeps moving forward because of the varying textures when you allow some moments of quieter passages with fewer players.

Like @MK_Piano I think the piece less related to the original poem and the competition theme. But this one is subjective as we all have our own interpretations on poems. But the piece stands alone well!

Thx for sharing and joining the forum!

Henry

Avg: 8.59

Very clear motif throughout, and the whole tone harmony makes this sound more like a fantasy. What's interesting is that I think you mix the harmony with bits of pentatonic. Thus, we have lots of tension and release throughout which helps keep you on your toes. At times I felt like this piece turns into a thriller, and this has a lot to do with your chosen harmony. The piece therefore gives us a mixed bag of emotions. Sometimes I feel like we are in a fantasy world perhaps in a forest. Then there are peaceful sections which could be the summer afternoon setting. The pentatonic sections remind me of beautiful vast fields or feelings of zen. Then we have the viola sections which could be a chase scene. Finally, your harp runs sometimes creates a mood of terror. Nevertheless, this is a very fun and interesting piece, and a good lesson on how harmony can really transform moods from one to another!

Entry:Donc, ce sera par un clair jour d'été

Average Score: 10

Review:

You know, I was not expecting piece inspired by the composers of the 2nd Vienna School as part of this competition. I must agree with @MK_Piano with the engraving! It is done with such care! Great job on that front. I must say that instrumentation and orchestration of that is on par. And yes you can play it. It is very creative and it has it unique form. Form when it comes to 20th century, well...let us not bring up. Form in the classical sense was toss out of the window and modern composers were more focused emotion and new ideas. Yes, this went above what expected of the expected and exceeded. Overall, I think this is best one!

Thank you all for the thoughtful reviews and feedback! I really appreciate everyone taking the time to listen and share their perspectives. I’m glad the harmony, textures, instrumentation, and extended techniques stood out. I’ll definitely keep your notation and musical suggestions in mind for future revisions. Really grateful for the support! 😊

@JDevorMusic @Ellie Smith

Are you the same person?

@Thatguy v2.0

No... I don't know who @Ellie Smith is...? I haven't had time to come on and check the comments here until today.

9 minutes ago, JDevorMusic said:

No... I don't know who @Ellie Smith is...? I haven't had time to come on and check the comments here until today.

I'm not going to argue, and I'm not stupid. There's a chance some nitwit created an account to only comment on your piece, and then "pretend to be you", but from my experience of the years I've been here, I beg to differ. This is a competition for nothing other than fun and community comradery, so if you're here for clout chasing or personal ego buffing, it's super cringe dude. Just post your music and try to make friends like the rest of us. People will grace you with praise or critique your music because they care about you in an authentic way if you're authentic in return. I doubt we see you after this competition has ended, but I would LOVE to be proven wrong. I'd LOVE to have made an embarrassing mistake calling you out.

I wish you well, and good luck in the voting

Okay, you do you man. It's pretty clear that @Ellie Smith is some weird scammer. There have been links hidden in each comment trying to get you to click on them.

no worries, might be wrong. It's just weird, you know?

On 9/25/2026 at 4:42 PM, Fruit hunter said:

Great work nothing to really criticize just some curiosities though since you definitely milk the hell out of almost every instrument in that piece with experimental extended techniques, I’m a strings player so I understand more information about the viola stuff and some information about the flute stuff. I’ll definitely be studying the harmonics and how flute harmonics work. (wood wind harmonics are a big part of my next upcoming composition for large Orchestra. “morse”). Anyways, the textures are amazing in the harmony, though is dissonant works extremely well with that dreamy quality of the whole tone scale.

Time for interrogation in my assumptions

again, this is more about curiosity as that these techniques are not thoroughly explained either in the actual score or in performance notes

1. Xyl. -harp- i’m assuming this is a xylophone sounding technique though I don’t know how exactly is it to be reproduced I’m assuming that you kind of just strike the fingers against the strings

2. bamboo tone flute- this is pretty self-explanatory as in the idea that they’re trying to achieve a sound similar to a bamboo flute, but how could it be reproduced?

3. how is a jet whistle produced I’m assuming that you make a jet of air near the opening mouthpiece of the flute, but harsh enough not to make an actual sound

4. for the flute harmonics there’s two ways I could feel about them that first they are usually used as a method to extend the range so they are played as a normal actual technique used in producing a “normal” sound , are the flute harmonic similar to artificial harmonics on string instruments?

Melodies Themes Motives	Harmony Chords Textures	Form Development Structure Time	Originality Creativity	Score Presentation	Instrumentation Orchestration Playability	Execution of Given Challenge	Taste
9.5	9.7	8.85	7.76	9.93	9.3	9.4	9.6

average 9.26. I also have watched part of your live stream about the composition process so that was nice only though five minutes of some parts. I don’t know if you explained the techniques there so I may have to look back.

Anyways, other than the lower score for originality due to the convergent factor of all the pieces of this competition almost having the same aesthetic it was a very nice piece and it was amazing. Great job and I hope you join more competitions in the future.

Thanks for the comments and for checking out the live stream!

As for your notes about the extended techniques:

1. Yes, Xyl. is an abbreviation for xylophonic sounds. It's performed by muting the stings required very close to the soundboard with the other hand while plucking. https://harpnotation.com/de/notation-manual/plucked-sounds/xylophonic-sounds/

2. The bamboo tone is accomplished by using an alternative fingering to the note. That's why I also have a fingering diagram above in the score. It's a very airy sound with a still defined pitch. https://www.flutecolors.com/techniques/bamboo-tones/

3. Jet Whistles are a lot of fun! It's mostly air but with a little bit of pitch. You use a full breath and overblow into the flute, so that it goes up, down, or up then down across the first three octaves of partials. I've faked the playback here with hidden harmonic glissandi. https://www.flutexpansions.com/jet-whistle

4. Flute harmonics are weird. You're right, and I've used them in the past to extend the range of the flute. Here I'm asking the flute to play three different partials but all using the same fingering. You get high notes that are possible with other fingerings on the flute, but also able to play incredibly high notes at a very soft and delicate dynamic (with also a slightly different color). https://www.flutetunes.com/articles/flute-harmonics/

Hope that your upcoming orchestral piece goes well and would love to hear it!

On 9/26/2026 at 6:42 PM, MK_Piano said:

Hi James,
Welcome to the forum and thanks for submitting this work! It's been wonderful seeing how various people have tackled the challenged I have laid out. Now, I am in the process of doing my reviews and it has come time to leave one here!

To preface, I wish to address some things. I am a tonal composer and while I have written post-tonal, or post-modern, I have only done so in the academic scene. My taste is to romantic soundscapes and I may not be the best suited to properly address this work. However, I wish to give it my best shot!

ENGRAVING:
The engraving of this score is meticulous and leaves no errors. My only comments here is that in your copyright footer on the first page of the score, you misspelled "LLC" and put "LCC" instead. Just a heads up before you sell this work elsewhere. Another picky thing is with the front matter, I am not sure you need to specify "written for the YCF competition..." twice: before the notes and above the title on the first page of score. It makes more sense to see a dedication for the ensemble above the title or to the organization of the event versus saying "written for XYZ" twice. Seems a little redundant.

The last picky thing is the page 19 to the end in the harp. I feel there is a better way to notate the cluster arpeggios. The accidentals tend to stick out way too much for me to say it makes sense. Visually it seems a little silly, especially the last harp chord. To me, even for those moments, using two stems, an extra stave, or voices to notate the individual notes, or help spell them out may be better; lastly, use of enharmonic spellings to keep the accidentals uniform (all sharps or all flats) may prove beneficial. (unless the goal was for every string to be used, which aha! That makes sense for varying accidentals)

Essentially, I am reasoning that it may be more effective if you make the readability easy for the performer because a lot of challenge will go into the playability and technique. Some of your pedal changes are cumbersome for a harpist. Outside of these comments, nice work!

MUSIC:
This to me, is the hardest to review as personal taste plays a factor. I did look at some snippets off your Instagram and Twitch of the process, but I do not have the time to do a proper analysis, which I feel may benefit my own understanding. Your use of the whole tone scale is most prevalent throughout the work, and there are certain motifs that come back and can be remembered by a listener during the duration. The form, if applicable seems to be a large binary with sub-forms within them. These forms being separated at rehearsal-J with the harp to break the piece in two. However, to me, the midi doesn't do a good justice as it seems quite monotonous, even though the score has very strong dynamic implications and a singer would actually sing the written lyrics.

To add, when it comes to the context of the competition, it casts more a dream than a romance. The soprano and tenor help the visual of two partners, yet, the nature of the work doesn't cast unbridled love, but a complex and troubled relationship in my opinion. Verlaine wrote this before the marriage to his Fiancée and there is a level of raw joy he may have felt. The ending of the work, after rehearsal-J seems to better capture that point, versus the front half, which is weaker in my opinion. As a chance for another to give a better addressed review, I believe @HoYin Cheung will have the tools for more direct feedback.

Good work on this piece, and we'll be eager to see what you create next!

Thanks for providing such a fun challenge! I wasn't familiar with this particular poem, so it was quite fun to analyze and work with. I agree with your thought that it casts more a dream than romance. I initially had the two singers as partners, but decided to go in a more surreal direction with love than the poem may have implied.

Also I appreciate those catches in my score - thank you! I wasn't a fan of how the harp chords looked either, but I was running out of time and gave up trying to fix it haha. I'll definitely go in and take a closer look to see if there's a better way to notate them.

21 hours ago, Kvothe said:

Entry:Donc, ce sera par un clair jour d'été

Melodies Themes Motives	Harmony Chords Textures	Form Development Structure Time	Originality Creativity	Score Presentation	Instrumentation Orchestration Playability	Execution of Given Challenge	Taste
10	10	10	10	10	10	10	10

Average Score: 10

Review:

You know, I was not expecting piece inspired by the composers of the 2nd Vienna School as part of this competition. I must agree with @MK_Piano with the engraving! It is done with such care! Great job on that front. I must say that instrumentation and orchestration of that is on par. And yes you can play it. It is very creative and it has it unique form. Form when it comes to 20th century, well...let us not bring up. Form in the classical sense was toss out of the window and modern composers were more focused emotion and new ideas. Yes, this went above what expected of the expected and exceeded. Overall, I think this is best one!

Thanks so much for taking the time to listen and for your comments!

On 9/25/2026 at 4:34 PM, Wieland Handke said:

Hello @JDevorMusic,

thank you for sharing such an incredible piece of music, and by the way – a hearty welcome at the forum.

Interestingly, the very first submission to the competition, and the last one – so far – have the same instrumentation, a flute, a viola and a harp (while you’ve added two vocals).

Melodies Themes Motives and Harmony Chords Textures:

There is a memorable motif that recurs throughout the piece and is first introduced by the flute in measures 4–5. The sung poem features relatively long note values or coloraturas for the faster notes, so that the vocal parts are somewhat reminiscent of Renaissance singing.

The accompaniment contrasts that with its – one the one hand „percussive“ arpeggiated chords – and, in other passages with energetic ostinatos (on the harp or viola), so that the piece unfolds a varied texture.

As a piece in „contemporary style“, or to be said „atonal“, it is difficult to speak about „harmonies“ in the traditional sense. However, there are some chords which could be perceived as „pentatonic“.

Form Development Structure Time:

The piece has no „traditional“ form (such as sonata or rondo form), but is clearly structured due to the realization of the poem as a modern „aria“ (or better duet), with passages of increasing tension and „rests“, calming down between the stanzas. And finally, you were thoroughly enough to meet the requirements of the competition by finishing the piece exactly at the 7:00 minute limit.

Originality Creativity:

This piece is absolutely unique among all the submissions, obviously for its atonality, but also because of its detailed and meticulous craftsmanship.

Score Presentation:

The score presentation is absolute professional, starting with the title page, preface (including instrumentation, program notes etc.) and is full of information.

So I didn’t look around to find some nitpicks but was rather impressed by the vast majority of details, including markups on articulation, playing instructions, harp pedals, breakdown of compound meter signatures etc.

Instrumentation Orchestration Playability:

The instrumentation works well, the three instruments from different families blend together and complement each other in their timbre, as well with the vocals.

As for playability, you yourself mentioned the the difficult level, which would be suitable for professionals only. And I'm sure you've checked all the passages for “unplayable” notes or chords.

Execution of Given Challenge:

Your piece represents a very thorough realization of the task of the contest: To take Paul Verlaine’s poem and create „Something“ in music. The question remains, whether the dissonant character of this contemporary piece will evoke associations with summer, beauty, and love in the majority of listeners.

Taste:

That might be the problematic part. For me, it's a fascinating piece when I can really focus on it (maybe during a live performance). But I don't think it works as well if you're just listening to it in the background.

Melodies Themes Motives	Harmony Chords Textures	Form Development Structure Time	Originality Creativity	Score Presentation	Instrumentation Orchestration Playability	Execution of Given Challenge	Taste
9	9	9	10	10	8	7.5	5.5

Average Score: 8.5

I realized this too after the fact! It seems like harp was quite a popular instrument for the competition too.

Thank you for taking the time to listen and I appreciate your feedback. I find that sometimes I can get away with surprising and unconventional harmonies when there is some thread of connection - that's why I use the recurring motif and ostinatos you mentioned in your comments. I know taste varies from person to person, but I've always found that dissonance can often be quite beautiful.

I didn't really get love or summer from this, but to each their own. I guess that's all subjective anyway, and there's no denying your exceptional talent and writing capabilities. It's all superb, and the harp writing is phenomenal. Well done. Good luck in the voting

A very vivid, lucid and dramatic piece! I thoroughly enjoyed its textures and unique musical gestures. I found the diverse elements of each of the individual instruments in the piece to be somewhat at odds with the desired topic/theme of the competition though. It is definitely a good idea to have the soprano and tenor sing separately first and then together in the last stanza. But the instrumental parts seem to create an atmosphere of tension and the harmony reminds of music for a horror movie or game such as Metroid. The tremolo Viola part especially reminded me of Super Metroid. And the harmonies between the Soprano and Tenor are often not palatable to a sensation of love or summer.

The piece is composed quite well however and with quite a bit of craft! It is very intriguing to listen to and definitely holds my attention from beginning to end. Thank you for your participation and good luck in the polls!

Average Score:  8.13