Violin Concerto - first movement.

Thanks.... those are some important points you've raised.

I'll do some careful thinking on those points.

Anyway, I'm glad you spent the time to listen through (and more than once!) - it's much appreciated.

A question:

Are you italian? I was just wondering about the title.

No, but the word "grand" doesn't have the same ring as "grande". ;)

I'm less in the habit of giving things foreign names at the moment, but there's nothing wrong with doing so - I hope your post isn't to express your indignation at my usage of another language.

my god, I feel like I need to take some lessons from you now ;)

however, I am already taking lessons about jazz, so I'm afraid, from what I've read in the signup sheet, multiple teachers is discouraged. so, too bad, I am quite interested in things like fugue, and certainly more than modern classical, I would love to learn the traditional stuff.

that aside, I have to say. great work. this is very well done, and unfortunately, I don't have the theoretical knowledge of the era to critique it effectively. but, it sounded a lot (as previously said) like Beethoven, or Mozart. well done.

I liked it, did you finish it daniel?

I started a second and a third movement. The short beginning to the second movement got lost when my last computer broke down, however. The opening to the third movement I have, and recently orchestrated it, but I don't have the time to see it through at the moment.

I started a second and a third movement. The short beginning to the second movement got lost when my last computer broke down, however. The opening to the third movement I have, and recently orchestrated it, but I don't have the time to see it through at the moment.

Got it!

I havent bothered to read all the forums so what im saying may have already been mentioned.

I think that the key changes are very weak. F to F# to E?

Its too close knit.

However, your amazing ability to be able to develop themes and such through different keys using accidentals is great.

One thing i always look for in any piece is the number of accidentals.

A small number of them means that the music is boring and doesnt steer away from chords I - xii. Thats what i like about your music...it keeps away from traditional chords.

Keep up the good work.:)

Thanks for the listen.

The F to F# "modulation" is really a surprise modulation, and it's meant to be jarring. I didn't go into E, I think I went into c# minor - F# is the dominant of c# so it was just about the most logical key change you could make!

A piece with many accidentals can be rubbish, and vice versa, but thanks anyway. :)

The F minor to F# major part was really cool! I think you did a great job on some of the harmonic modulation. And I liked some parts with chromatic figures too.

Keep up the good job =D

Wow, a great concerto! Well, what you have so far. This is a stirring first movement to what looks like will be a great concerto. I love the rythem and melody tricks you played throughout your orchestration. Overall very well.

Yes, it was VERY classical in nature. :) It felt very Mozart, but still fantastic job.

Seems that I have revived this thread if not temporarily..

The F minor to F# major part was really cool! I think you did a great job on some of the harmonic modulation. And I liked some parts with chromatic figures too.

Thank you, Steven. :) I'm quite pleased with some of the more interesting harmonies I came up with, so if anyone else enjoys them, that's good!

Thanks, tenor10 - the project is on the very-far-back burner right now, but glad you thought the first movement was stirring! :)

Yes, indeed it is classical, but if you compare it to Mozart, it's really quite a different (not tamed..not house trained :P) beast. Not to mention that comparison to Mozart's violin concertos is always unfair. ;)

Thanks guys for listening. :-)

I've listened to this many times, but I haven't commented on it yet. And yes, I think that this is soooo good, that it deserves a bump :P .

Let me start by saying wow. The whole first movement has a very thick and heavy feel to it. The breaking down of the theme and development was EXCELLENT. I felt like I knew what was coming next, but was still surprised by the way it was executed, which is always a great thing.

And another thing, this is definitely not a mozartean piece. I'd say it fits in more with the style of the early-romantics and late-classicists.

Back to the piece. The harmonic palette that you used was very varied and interesting, and you probably wrote the whole thing while keeping Bb instruments in mind anyway :) .

As for the orchestration, I think that the violin might be over-powered in some parts because of the high notes in some of the strings that are in similar ranges. Although the timbre is slightly different, 14 violins will still overpower 1. The wind parts and overall handling of them, though was excellent. They each played an important role in the story, which is difficult to do.

At times, the violin part reminded me of Mendelssohn's in the fact that when you give the spotlight to the orchestra, the violin plays rapid arpeggios. There's nothing wrong with this, but I'd have preferred some counterpoint with the other theme. Sort of like a clashing of ideals.

Quite a magnificent movement and concerto so far. I GREATLY look forward to an mp3 of this and the next two movements.

I've listened to this before too, I think it's a fine work, however I believe your more recent works are far better since your voice has evolved to a bit more modern style of writing. Still a good work though, I just feel it's hard to comment on since your evolution as a composer has unfolded to my liking on this site. :)

hi daniel

It is a cute work and the harmony is familar with the classical period style . and i like it a lot

thank for post in yc , i think you are one of the great composer in yc

dark

Well thank-you :)

Although you say, "Of course, you yourself did say how much you loved virtuosity, and I must agree, that is a preference of mine."

I mentioned how I do not love virtuosity.

However those high notes are definitely possible. You will find the like of them even in Mozart.

Thanks for listening :)

I agree with you on that Daniel, Mozart does use these notes. For example if you listen to the overture of La Clamenza di Tito, or examine the score, Mozart has the 1st violins reaching high D sharps, and Fs and he works those notes very well.

hey, Daniel did you take off your piece? I can't seem to find it and I haven't really got to listen to it.

Thanks, maelstrom, thatguy, darkangel, and musicgk - I really appeciate your listening to, and commenting on this piece. :)

Musicgk - the attachments are still there in the full post.

Thanks all - glad you liked it!

I took a listen and I really like your piece. You have soom real musical talent Daniel. You have some nice uses of harmony too. very late classical in my opinion. The only concern I found in my opinion was the orchestra and solo violin. It seems to be over powered at some points in the piece. That was my only concern. Overall, very well done.:D

I love it! It would fit very well as a soundtrack to an rpg game, it feels like a huge story told within 12 minutes.

What it needs is real instruments, then it would really sound amazing.

Dan -

First off, very impressive movement. You'd be one of the people I'd go to for writing larger forms! Upon listening to the piece after a long break and reading the comments I will reiterate the points to consider-

a) Your harmonic language has changed and adopted more modern conventions so if you return to it please consider this. It may be an interesting idea for the movements to metamorphisize stylistically (think Schoenberg's Gurrelieder).

b) I agree with violinboy that the solo violin figuration gets a little crowded -- specifically you fall into extended arpeggios and runs which don't sound as thematically related to the motivic material as I'd like or continue on longer than I'd like. This is a bit of taste but does contradict your stated distaste for overly virtuostic music. BUT, overall some wonderful writing and the interplay with the orchestra is excellent -- my favorite part is with the clarinets and bassoon (?) interplaying with the violin -- great stuff there.

What I'd love to see is a new concerto from you - a concerto in its baroque form with your more recent language (a la Stravinsky w/ Dumbarton Oaks or Capriccio for piano and orchestra).

Just an idea. Continue the excellent work.

Thanks a lot for the comments, you three, and especially Chris.

Interesting point about having the movements perhaps metamorphose. I doubt now that I will finish the piece, but it's a good idea.

Yes, the violin figuration does get a little crowded, and perhaps even boring. And yes, it verges on the crude in terms of virtuosity. All things I'll improve in the next concerto I write.

Glad you liked the orchestral interplay. :)

I do want to write a new concerto. It'd be modern, but I don't know if I'd use baroque forms/textures as a jumping off point. I guess I'll have to listen to Dumbarton Oaks again!

Anyway, thanks for the useful comments!

Dan -

Well I agree about desisting from using baroque textures (actually you use them in the violin writing at times (both soloist and with the violin choir) -- that may be the reason for the crowdedness as these dense baroque textures in a Romantic work whose languge is akin to Mendelssohn if he were bolder - betray some of the expectations you set for the listener).

I do think though it would be worth considering the baroque form - eg. concerto grosso (Bartok - Concerto for Orchestra but I prefer Stravinsky's use of the form).

In fact the section I enjoyed most had that concept wherein differnt instrumental groups were highlighted creating a conversation of sorts. In a way Dumbarton would be a good piece to revisit because that is the strongest attribute of that piece - it really feels like your dropping in on a great dinner party where the solo clarinet is the grand host with great, cutting wit but extremely sensitive and generous to his/her guests allowing them to shine when appropriate.

PS. When you listen to Dumbarton Oaks, please let me know that I am not the only one that hears sarcastic references to the song "There's No Business Like Show Business." I swear I can hear those references loud and clear and it always gives me a little chuckle.