The Chamber

Hey man - well done on the mark - it's deserved. It's really nice to hear something really modern on here. Great manipulation of unusual timbres, which are easily heard and enjoyed at this slow pace. Despite what people have said I don't think the tempo is really problem, the piece still has a strong sense of direction, and I am sure it would be easier to pick this up in a concert hall situation. Your own compositional voice seems to be emerging and, most important of all, (in my opinion), you're writing in contemporary language and not stuck in the past! Matt

Your own compositional voice seems to be emerging and, most important of all, (in my opinion), you're writing in contemporary language and not stuck in the past! Matt

Good thing Poehler's not around to hear that!

I doubt he would even attempt to listen to something like this :P He has probably blacklisted many composers in here :)

Hey, I don't think I have listened to anything quite like this. Forget technicalities; this work is fascinating and explosively experimental in design! Very well done!

I like when people "rattle the cage" against complacency;

and the ordinary.

Very thought provoking and extensive work which desires more than the occasional listen.

Bravo!

Michael

Cheers Michael that's very kind of you. I wish I could have teleported everyone here to the performance because it was so much more than the recording can deliver. The entire space blacked out, a sweltering summer evening so there was a sense of oppressive heat which enhanced the atmosphere. Very slight lighting situated around the space and a palpable atmosphere throughout. Conducting it was a draining and cathartic experience for me and was the first time that I felt the electricity of fusing with ones own work. So often I rarely conduct and being in the music both physically and mentally was a tremendous experience.

I have no idea what to do with the piece now as it benefits from begin performed in such a way as to create maximum intensity and atmosphere.

I have thought about extending the forces, particularly in the strings to give it a 'bigger' denser sound, not sure if it is a good idea or not though?

I should be the one to thank you for posting such wonderfully crafted music. You are by far one of the most talented present-time composers I have heard. :thumbsup:

I just have to say how much I agree with manossg, I've been listening to a lot of the pieces you've posted up here Ryan and they've really struck a chord with me. Apart from the fact they're technically really well composed, it's rare for me to "connect" with a lot of "present-time" (21st century?) music the way I have with this (not that I'm one to shy away from modern music). I'm interested, who would you consider your biggest influences?

I love the ebb and flow of this piece, the way it builds from sparse soundscapes to intense emotional climaxes without doing so complertely predictably. The instrumentation is great too. Wish I could have seen it live.

To my ears there's no problem with the pacing or the slowness of the piece, though it does take a LONG time to wind down after the last climax. Still, I never got bored.

I also hear a bit of Steve Reich at G to H or so. Electric Counterpoint? ;) Not a bad thing at all though.

I'm not sure how it might differ live, but from the recording, I don't think it's necessary to increase the string forces, although it proabbly wouldn't hurt.

Anyway, really inspiring piece, can't wait for your next one! :thumbsup:

I just have to say how much I agree with manossg, I've been listening to a lot of the pieces you've posted up here Ryan and they've really struck a chord with me. Apart from the fact they're technically really well composed, it's rare for me to "connect" with a lot of "present-time" (21st century?) music the way I have with this (not that I'm one to shy away from modern music). I'm interested, who would you consider your biggest influences?

I love the ebb and flow of this piece, the way it builds from sparse soundscapes to intense emotional climaxes without doing so complertely predictably. The instrumentation is great too. Wish I could have seen it live.

To my ears there's no problem with the pacing or the slowness of the piece, though it does take a LONG time to wind down after the last climax. Still, I never got bored.

I also hear a bit of Steve Reich at G to H or so. Electric Counterpoint? ;) Not a bad thing at all though.

I'm not sure how it might differ live, but from the recording, I don't think it's necessary to increase the string forces, although it proabbly wouldn't hurt.

Anyway, really inspiring piece, can't wait for your next one! :thumbsup:

Hey thanks for your comments, I'm so glad that my music is able to engage and inspire the listener without being cliche or 'safe'. I think that is the hardest job of the composer, to be sincere but original. I think partly why I am able to do this is the fact that I really don't think about trends when I write, I literally write for myself and I think that is where the sincerity lies.

You are right to point out Steve Reich as an influence but actually John Adams is becoming much more of an influence on me, especially the way in which he write super long melodies that seem to stretch on and on.

You've created an image. Now why not try an emotional journey?

I've listened to this mp3 twice, and I'm very sorry to say this, but I don't think writing like this takes very much realization and consideration. I could see this as a choreographed ballet work, where one could appreciate the dancing, but not in a concert hall.

It relies on randomness and disorder: something attainable in any amateur. It isn't enough for me to just simply have a texture divided by the occasional percussion instrument. I require blatant motifs, craftsmanship, beautiful melodies, at least some pleasant harmony, shape, and above all, stimuli. For me, so much modernist music (and modern art) has inspired but one uniform feeling: insolent bleakness. A few good examples of this emotional medium are valuable, but I believe the single feeling has been explored and exhausted ad nauseum. It's time to move past it, or at the very least, offer contrast along with it.

Some people may look at a Jackson Pollock painting and say they feel something. Anyone might admit that it's decorative and dramatic. Others may look deeper at it and feel offended at its arrogance: like the artist wanted to rub in the viewers' faces that he is smarter, and knows something they don't--and he will not stoop so low as to contour to their more commonplace sentiments or emotions, but while achieving this with minimal skill or effort so as to achieve the maximum level of offence.

Further still, some might see it as a sort of deficiency merely disguised as esotericism.

You've created an image. Now why not try an emotional journey?

I've listened to this mp3 twice, and I'm very sorry to say this, but I don't think writing like this takes very much realization and consideration. I could see this as a choreographed ballet work, where one could appreciate the dancing, but not in a concert hall.

It relies on randomness and disorder: something attainable in any amateur. It isn't enough for me to just simply have a texture divided by the occasional percussion instrument. I require blatant motifs, craftsmanship, beautiful melodies, at least some pleasant harmony, shape, and above all, stimuli. For me, so much modernist music (and modern art) has inspired but one uniform feeling: insolent bleakness. A few good examples of this emotional medium are valuable, but I believe the single feeling has been explored and exhausted ad nauseum. It's time to move past it, or at the very least, offer contrast along with it.

Some people may look at a Jackson Pollock painting and say they feel something. Anyone might admit that it's decorative and dramatic. Others may look deeper at it and feel offended at its arrogance: like the artist wanted to rub in the viewers' faces that he is smarter, and knows something they don't--and he will not stoop so low as to contour to their more commonplace sentiments or emotions, but while achieving this with minimal skill or effort so as to achieve the maximum level of offence.

Further still, some might see it as a sort of deficiency merely disguised as esotericism.

Without wanting to sound rude, that is quite simply the biggest load of horse s@it I have ever read.

If you cannot hear beautiful melodies in this piece then quite frankly you must have your head up your own arse.

It is deeply offensive to compare my work, and the level of graft that went into it to that of an amateur. I worked very hard on this piece and there is no 'randomness' as you put it. To say randomness is to imply that I threw notes on the page willy nilly without any consideration. I suspect you need to revisit the piece and analyze it, there you will find motifs all over the place, but I suspect your tiny little mind is incapable of any thorough thought or study.

I am normally a polite couteous member of the forum but your post has very much angered me with its grandiloquent ramblings.

Sure, I do not expect everyone to like my music but your comments are totally unjustified and quite simply wrong.

You've created an image. Now why not try an emotional journey?

Because emotions are highly personal! Because official phychology in universities (believe me, I've researched this), have not been able to map human emotions; they are too many to begin with and too complex intercomplicating each other out!

I've listened to this mp3 twice, and I'm very sorry to say this, but I don't think writing like this takes very much realization and consideration. I could see this as a choreographed ballet work, where one could appreciate the dancing, but not in a concert hall.

The proposition of a ballet, is a good one and a good idea and I do agree. The assumption that this writing doesn't take much realization and consideration is plainly wrong! Try it and you'll see!

It relies on randomness and disorder: something attainable in any amateur.

This is outright insulting!

It isn't enough for me to just simply have a texture divided by the occasional percussion instrument. I require blatant motifs, craftsmanship, beautiful melodies, at least some pleasant harmony, shape, and above all, stimuli. For me, so much modernist music (and modern art) has inspired but one uniform feeling: insolent bleakness. A few good examples of this emotional medium are valuable, but I believe the single feeling has been explored and exhausted ad nauseum. It's time to move past it, or at the very least, offer contrast along with it.

The first few sentences imply highly personal opinion, as featured by the phrase "... for me..." and "I require"... Not all music is like this, not all tastes are like this and not all people react in the same way. However you have noted that it is a personal opinion, so it's fine!

The generalistic comment in the second half again goes a bit off. "insolent bleakness" is insulting. Bleaness is a personal opinion, insolent is rude outright again!

The choice of the composer are their own, and by all means one should interfer with those unless they know the composer VERY VERY WELL!

Some people may look at a Jackson Pollock painting and say they feel something. Anyone might admit that it's decorative and dramatic. Others may look deeper at it and feel offended at its arrogance: like the artist wanted to rub in the viewers' faces that he is smarter, and knows something they don't--and he will not stoop so low as to contour to their more commonplace sentiments or emotions, but while achieving this with minimal skill or effort so as to achieve the maximum level of offence.

Again arrogance: Is it arrogance to create art? Is it arrogance to live by it? Is it arrogance to have people play your music? To have your music online? Cause I find it fantastic, on the contrary! Do you know Pollock personally? Do you know about his character? Do you know his troubles? His art? Do you know Ryan? His troubles, his art? his music? His mind? He's been kind enough to let us into his world and you decided to scraggy in his world!

Effort or skill is not equal to good necessarily! Not by a long shot! Not saying that it doesn't matter, but probably you have little idea on how much it takes to create such a work that Ryan created!

Further still, some might see it as a sort of deficiency merely disguised as esotericism.

deficiency? I'm assuming that "some" include yourself as well? Others may not as well! Are we aiming to please ALL people? If so, then by all means 'the chamber' is deficient! If not, then the above is a bit off, as I said in the first place!

Ryan: The same applies to you really. "If you cannot hear beautiful melodies in this piece then quite frankly you must have your head up your own arse." Huh? He does have a right of opinion and your melodies are not what the average Joe defines as beautiful melodies, simply because they've been trained by Pucciny, Verdi and Mozart, maybe...

Assumptions to anyones' mind are, again, insulting. Personal attacks are hurting the individually of everyone in here.

But I certainly realise your reaction! And I sympathise!

___________________________

Somehow I need to get out of the "fatherly" figure uniform... :D:D:D:D

Call it a bit of a hasty reaction. I think I should have deleted the word beautiful. What I was trying to say was that the piece is full of melody, some very tonal, some not quite as tonal, but to say there is no melody is really absurd to me.

If this comment was made about any other puiece of mine then so be it but the amount of work that went into this piece was enormous and pushed me to the limits and to have some nobody come on this forum and make these comments really angered me.

But I agree, my comment was a little bit off.

Thanks Nik for your support though, I know I need to develop slightly thicker skin against certain people.

Having some free time at last to browse through YC and taking the chance to re-listen to this exquisite piece...I bump this thread...

Exquisite? I can easily say that this was the least enjoyable piece I have ever experienced in my lifetime. The composer has obviously had no taste in melodic variation, harmony, counterpoint, has never played an instrument, had an audience, or listened to a piece of music. The only hypothetical assignment I could possibly concoct from this misfortune of unrelated notes is to inquire what could possibly be the next step in walking the plank toward musical oblivion or silence. I truly pity these deficiencies of style as I know they are more inherent than learned.

I know that QcC deleted this post, but I think it deserves a reply.

Then again John decided to totally ignore my above post, so... :angry:

Dear John,

This HAS been the least enjoyable piece that you have experienced in your lifetime. BTW, how old are you? ;) But never the less, do allow other people to think differently than you, to have different tastes and aesthetics, right? Or you're some kind of music nazi, where everyone needs to agree with you?

Your obvious assumptions are (once again) insulting. Do you actually know Ryan? Have you met him? Do you know if he does play any instrument? BTW, since you're at it, can you tell me what instrument I play, QcC plays and Manos plays? And if you can, could you please predict what my kids will play? Because you seem to be very good at random predictions, that end in bullshit!

I don't think that anyone needs your pity, or elsewise. I further do not think that you have any right to consider anything misfortune. Because if you do have the balls to do that, then everyone else also acquires the right to think that you're a pitiful person who think that attacking on the Internet is fun, or thinks too highly of yourself, that you are stuck in the past never trying to get away and that you are envious of everyone around you because you feel like an ant, whereas you should feel like a cocroach if you ask me! But I don't like such rights, so I wouldn't say things like the above!

Finally, have a deep breath and think of talent as you wish, an learned abilities, or not. Live your life, let others live theirs and let them have a choice, for a change: A choice which you probably never had, because it's apparent how close minded you are!

___________________________________

See?

It's quite easy to attack a person and start assumptions about everything and anything, including the persona of someone. I actually hate the above 3-4 paragraphs, but it is an indication of what a reply could be for this.

John, honestly do PM me if you have any problem. Me, Nikolas. If you do carry on this way you're up for banning and the end of story. Not me, nor anyone else on the staff have the patience to carry on feeding you like this. Be an adult and try to fit in the community rather than fighting back.:angry:

I'll notify Ryan, but in all honesty with such hostility in this thread, it's no wonder he took it down! :(

Well good evening one and all. I have not been around for ages and looks like I have missed out n all the fun.

In some ways it's rather nice to know that my music has created such a furore but it is a shame to think that it has offended someone so deeply.

The full mp3 is removed to declutter my webpage but if anyone specifically wants to hear the full work again then I may be persuaded.

Hello Hymnspace!

I wasn't around when you posted the piece and I would love to hear it, if it isn't any trouble for you of course! :)

Alexandros

Ah man I've just read some of the furore sparked up on the last page of this thread. Totally ridiculous... It's bloody hard to write serious music these days, particularly with this kind of childish reaction to anything that isn't tonal.

It's a fantastic piece if I remember correctly. People have got to realise they're simply products of their own culture and what they call 'melody' is to be honest just representative of the kind of 'melody' their used to.

The reviews for Mozart's quartets dedicated to Haydn included comments like: 'he has a decided leaning towards the difficult and the unusual' and that the use of chromaticism was 'barbarous... execrable ...miserable' - and now I don't think a single soul would complain about them. If only people would stop judging things by what they like and know and evaluate works of art of their own merits within the context they actually belong!

Ah anyway rant over...

Cheers Matt, very well put. To be honest I think that the Chamber is full of melody. I believe in John Adam's notion of a 'hyper-melody' in which melodies can strtch on and be endless rather than constrained to an 8 bar 'tune'. I think tunes and melodies are somewhat different.

I wish the guy who had given such a bad review of the piece could listen back about 2/3's into the piece where the strings launch into an exquisite climax. This section is full of melody and counterpoint, the very things he said the piece didn't have.

I'm guessing he has left the forum now but if he is around then he should give the piece another try.

I am hoping to get it back online soon but just having problems with the size of the file at the moment.

Once you get this up, I would really love to hear it!

Well, here it is by UNpopular demand :)

Sorry for the poor quality, it's cut down to 96kbps because of the size of the file so it only serves as a taster to the real performance.

Keep in mind that the audience were surrounded in a cocoon of players which circled them so it was a very intense listening experience.

PDF is on page one of this thread.

Hope you enjoy, especially those who have not heard it yet.

The Chamber, created by Ryan Yard and presented through ACIDplanet.com

WOW. Even this "taster" sent chills down my spine! Now, looking at what that one other person wrote, I can't help but laugh. This is definitely one of my top three pieces I've ever heard on this forum!

I suppose it wouldn't really help to give suggestions at this point - not that I really have many to give. I love how even your most intense sections (in fact, especially your most intense sections) were extremely lyrical, and certainly not boring or ugly as others had implied.

I'd really like to see more of your works!

Ryan, would it be too much to ask to reupload 'Hymnspace' too? I never heard it when it was up, but I LOVE the concept, would be sweet to hear it :)