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Showing results for tags 'concerto'.
Found 32 results
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This is a piano concerto I am composing now. I will succesively post remaining movements. The second movement is a slow siciliano, in my feeling it's a bit too short but when I think what I could add, I don't have any ideas :/ what do you think?
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Hi Everyone! My friend recently asked me to write a double bass concerto for her! She told me that she wanted it in G major; I said I will write it for her but the problem is... I HAVE NEVER WRITTEN FOR SOLO DOUBLE BASS IN MY LIFE!!! Can someone please tell me how to write for double bass. Things like scordatura, chords, do's and don't's will greatly be appreciated! (By the way, this concerto is in a classical style so instrumentation is early classical as well.) If you want me to upload it, let me know! Thank You!
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This is a piano Concertino that was premiered in December by a Chamber Orchestra composed by young artists. I couldn't record the event but I have a midi rendition. Any feedback is welcomed!!!
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Hi sorry haven't posted for ages, been busy! Here's the 2nd Movement of my Piano Concerto. I composed it when I was younger, but decided to re-work it. Will be uploading 1st and 3rd movements onto youtube soon. Hope you enjoy. https://www.youtube.com/watch?v=YVs3_spSBD8 Mike
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This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!
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This is my first piece in italian style and generally my first concerto (I don't think it's succesful), I write mostly solo music. What do you think? What do I have to improve?
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A small concerto (concertino) in a movement. It has a classical style mixed with a "romantic orchestration" It was composed back in 2015 for a 2016 premiere with the High school Concert Band from Escuela Libre de Musica The composition has some novice errors hehe, also I'm conducing, so I apologize for the dancing. I included the audio .midi and the premiere back in 2016 with the Escuela Libre de Musica Concert Band and Angel Cuyar as soloist. As always, feedback is welcomed! -
The is the opening of my first organ concerto, which I have subtitled Il Festival, Italian for The Festival. What do you guys think? -
Hello, I wonder how the sound from 0:00 to 1:00 is produced on the piano. Schnittke uses the term con amplificatore which means with amplifier. It almost sounds like some gamelan instruments. Thanks!
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Hi everyone, After receiving positive comments of my Piano Concerto Mov.1 , I have decided to write the proceeding movements of the concerto, which serves as a challenge to myself. I have long for writing a slow, romantic movement for a concerto and so, in contrast to the 1st Movement, the piano solo has more melodic parts here. How is the work so far? Is the string prologue too long? Btw, I am still trying hard to add woodwinds and brass as I am more familiar with strings, so I may add it later. Thank you for your comments:) Regards, HoYin -
Hello. Posting some old works that was performed some years ago. Concerto nr. 36 in the late Italian baroque style, written to my better half! Sadly I lost the recording from the concert, so this recording is from a rehearsal. For me this second movement of this concerto is the most expressive slow movement I have written. I. Allegro II. Adagio III. Vivace (La danza dell'amore) Please tell me what you think! Performed by new baroque ensemble 2016. -
My first timpani concerto, written almost a year ago for a friend of mine who wanted something new. I apologize for the third movement. It's written that you use a superball and cymbal bowing on the timpani but of course my program cannot replicate. If you encounter one of these sections feel free to fast forward (there's a lot of silence) until there's actual written material. Enjoy.
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This is a tuba concerto with piano I have been working on for quite a while. Originally this was meant to span multiple movements but I decided to run the movements together and give it cyclic properties. The sustain pedal on the piano is just holding out on this midi rendering so it gets muddy and the 8va markings cause both staves to move up or down an octave for whatever reason even if I didn't write it like that. Anyways, I hope you enjoy and criticism is welcome.
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Hello I'm writing a piano concerto and I have got to the cadenza. I am stuck with what to do with it. Do they have certain distinguishing features and do they have to be in the tonic key?
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Hi Everyone:) This is my latest Piano Concerto No.1, written for Piano Solo and String Orchestra. Currently, the Concerto only have 1 movement, Presto - Vivace - Presto - Allegro. (Please tell me if you want me to write 1/ 2 more movements:D) This is my very first concerto of this kind, and I am tempted to experiment the balance between Strings and Piano. I also attempt to use some chromatics and implement my favourite tuplet-against-duplet rhythmic pattern throughout the piece. Not sure if both techniques are appropriately done? This is my first time writing excerpts for Solo Piano, and I think I made it feasible as possible? Will it be too easy for a pianist to show-off? (I suppose someone will say so:P) Also, what do you think about the music in general? Particularly the development? Thank you! HoYin
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Hello everybody! I just finished my Piano Concerto No.1 ''Octaves'' in f minor. The Concerto consists of only one movement: Allegro con brio. The music is, of course, written for piano and string orchestra. The goal for me to write this piano concerto was to learn more about how to write for piano and how to write in a more classical, early romantic style. Note that I added some more contemporary elements as well. The concerto is in free Sonata Form: Exposition - Exposition repetition with piano (classical) || Development (many more modern elements) || Recapitulation without the second theme. I ommited the second theme in the recapitulation, because I felt like this theme was already 'mentioned' too frequently. Furtheremore, ending with the first theme sounds fine to me. What do you think about the music? Particularly the development? *The lay-out of the score still has to be done. Piano_Concerto_No.1_''Octaves''.mp3 Maarten
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Hi Everyone, I have started writing this piano work including a Piano solo and the string orchestra. I think I have introduced some themes into it, but are the themes insufficiently developed? Most of the time I tend to end a theme too quickly (maybe?) and start another, causing poor connection between them. (For example, mm. 29-30, 69-71, 89-90, 95-96 are such transitions) I don't have much knowledge about "bridging" motives, so I sincerely ask for some suggestions for it. Is the harmony good too? Any other comments are appreciated:D Thank you! Regards, HoYin
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I have composed a melody and put it into a waltz. Now I think that it would work really well in the bassoon as part of a concerto. Should I use the same melody twice?
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In an effort to embarrass and hate myself even more, I present to you my first attempt at a piano concerto just 3 years ago. It's heavily based off of the Ravel Piano Concerto since I was still working under established formats at the time. While it's nice to see I'm infinitely better than I was in a relatively short amount of time, it still fills me with rage and contempt to see pieces like this that I've done. I truly hate it. I hate seeing it, knowing there was a point I thought this was acceptable material. It's a little longer than most things here since it's all 4 movements in one file, but I'd appreciate any listen throughs of it. Note: The first 14 or so seconds of the file are empty, but the concerto is there.
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This piece was written as a commission for a pianist in a school I used to go to. It was written pretty quickly and is based on the Hans Christian Anderson version of the story, not the Disney version. It gets weird in some places but I hope you all enjoy! (And sorry it's kind of long, haha)
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Written for a friend; I'm excited to be able to finally rehearse and perform it soon!
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So, I am a huge fan of some of the music that is starting to come out these days. I am very excited about one of the directions classical music is taking. There are several composers who represent this direction that I refer to. For so long (nearly a century) music withdrew from its romance with emotion, it withdrew from expressive melody and lush harmony, it withdrew from a tonal center and a lyricism. Few composers held to these ideas in music. Namely I can think of Samuel Barber as someone who wrote beautiful expressive music in a period where Schoenberg's 12 tone technique came to take over and rule the land. Now, it seems that we are beginning to come out of that phase. What I enjoy so much is that we are returning to the tenants of romantic era music without it sounding like romantic era music whatsoever. We have discovered something through the 20th century and it has influenced our 21st century romanticism. We are starting to embark on a journey of sounds and textures, uses for instruments not previously thought of, fusions of musical styles and traditions that result in incredible sounds all while staying true to what makes music music. One of the composers at the forefront of this and one of my favorites is Christopher Theofanidis. Most people know Theofanidis for his Rainbow Body and rightfully so. It is expansive, beautiful, meditative, exciting and brilliant. However, Christopher has written a new Bassoon Concerto and it is incredible. Don't think for a second that you know how he will use this instrument. At times he uses it almost in the way you would use a jazz saxophone solo other times it is used as if it is a pipe on a set of bagpipes and the orchestra is the drone. He gets so many uses and sounds out of the bassoon that I have never heard before. The soloist is incredible. His name is Martin Kuuskmann - first time I had ever heard of him, but he kills the interpretation of this piece. The piece starts out with a solo for the bassoon that reminds me of a local saxophone player that we have were I live. His name is Bobby Watson. One time I saw an outdoor concert where he played Amazing Grace. That saxophone solo wailed through the valleys of the hills and through and between the buildings of the downtown area. Then it is off to the races. The speed at which he plays and the attack on each note is incredible. The second movement is my favorite. The build is luxurious and beautiful. The concept is unique and visionary. In my opinion this could drag out forever and there would be no issue with it. The last movement is blistering and super exciting. The ending is also very unique. The only thing that was initially confusing to me was the fact that the bassoon doesn't finish the piece on the high note. Interestingly, it goes back down and fades out. It took my ear a few listens to get used to that part. Nevertheless, this is the kind of music and the kind of incredible ideas that I love seeing - thinking outside of the box. I love the harmonic language. I love the open exciting chords. I love the concepts with the bassoon. I love the melody and the direction of the piece. I love that there is incredible music being written now! -
Hi all, A friend of mine asked me to write a piano concerto for her - I was already planning one, but now I really began to set the first notes on paper. The early romantic composers' concerti (Schumann, Mendelssohn, Beethoven etc.) have had a huge influence on the piece until now. Sadly enough, I feel I am not able to continue and finish this concerto. It sounds too repetitive and it really bores me listening to it, but also composing. I have reached the capitulation of the first movement. Any ideas how I can recover my motivation of finishing it? I have attached the score and music. Note that this is a rough sketch. Feedback would be nice too! Maarten
