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Showing results for tags 'soliloquy'.
Found 26 results
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This is my "Soliloquy for Accordion No. 2". It is, as its subtitle declares "In Memory of a Martyr for Freedom of Expression in the Arab World: Jamal Khashoggi". I am sure you have heard about the disappearance and death of the journalist all over the news for the past 20 days or so. It has preoccupied the news media of late. And increasingly it has appeared that he was brutally killed. His last article in the Washington post had an apt title: "What the Arab world needs most is free expression" (I provide the link below for those interested in reading it). As such - and as a citizen of the same "Arab world" that Khashoggi comes from, this is perhaps my first piece which can be described as a kind of "musical commentary" on current events. May his soul rest in peace. And may the Arab world - and the world at large - come to enjoy the free expression that he dreamed of. As such, this piece can also be considered as a step in the path or process of championing the right to freedom of expression and achieving the end of all oppression. Link to Jamal Khashoggi's last article: https://www.washingtonpost.com/opinions/global-opinions/jamal-khashoggi-what-the-arab-world-needs-most-is-free-expression/2018/10/17/adfc8c44-d21d-11e8-8c22-fa2ef74bd6d6_story.html?utm_term=.de0ae3ff2d95 Link to my "Soliloquy for Accordion No. 1": https://www.youngcomposers.com/t34266/soliloquy-for-accordion-no-1/
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This is my 3rd soliloquy for bass clarinet. Here is the link to the second that I had posted almost 1.5 years ago: https://www.youngcomposers.com/t34896/soliloquy-for-bass-clarinet-no-2/
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This is the third installment of my pieces that were previously published here on Young Composers forum but got deleted during the renovation of the website in late April - early May 2016 and that I am choosing to publish again. Those pieces number 181 and I will try to post some of the best of them from time to time. What distinguishes this soliloquy is that, after I posted it, I was asked by a member of YC to choose one of my pieces for members of YC to compose pieces based on its theme. And I chose this piece since it was - and probably still is - one of my most original pieces. This is how I introduced my Soliloquy for Clarinet No. 5 when I posted it the first time back in October 5, 2013: "This is my 5th soliloquy for clarinet. I think it is the best clarinet soliloquy I have composed till now. And I consider it among my best compositions."
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This is my 5th soliloquy for harp. I had previously posted my 2nd, 3rd, and 4th, but they all got erased due to the renovation of the website in early May 2016. I might post one or more of them in the future as part of my repostings of older, deleted pieces. Meanwhile, I hope you enjoy this one.
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This is my Soliloquy for Violin No. 31. Here is the link to my previous soliloquy for violin: https://www.youngcomposers.com/t35725/soliloquy-for-violin-no-30/
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This is my "Soliloquy for Clarinet No. 19". Here is the link to my previous posted soliloquy for clarinet: https://www.youngcomposers.com/t34671/soliloquy-for-clarinet-no-18/
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Back in October 2017, I composed this piece, my 7th soliloquy for solo viola, in response to Serj Tankian's "7 Notes Music Challenge" (Check here: https://www.youtube.com/watch?v=yZMJy7jO08Q). They have now chosen the best 500 from thousands of submissions worldwide and will soon choose the winner from the top 100. You can listen to the selected 500 and see the list of the top 100 in the following website: https://www.7notesexperiment.com/ I only listened to several of the many multi-instrumental and multi-genre compositions based on the 7-notes theme, but in my mind my continuation in the 3rd and 4th measures offers the most natural and logical one. Here is the link to my previous soliloquy for viola: https://www.youngcomposers.com/t34476/soliloquy-for-viola-no-6/
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This is my Soliloquy for Violoncello No. 13. It was inspired by my getting back my cello after a long time. I practiced it, hoping to be able to adequately perform it and be able to post my performance of it instead of the computer-generated MP3. However, having not touched the cello for many years, I still need much more practice to give it a smooth performance, let alone a good interpretation of the piece, and hence do justice to the piece in performance. Maybe, I'll do so in the future. In the meantime, any cellist who is interested in the piece would be welcome to take up the challenge, perform the piece, and post their performance! Reviews are also welcome.
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This is my soliloquy for violin No. 30. Here is the link to my Soliloquy for Violin No. 29: https://www.youngcomposers.com/t34240/soliloquy-for-violin-no-29/
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This is my Soliloquy for Vibraphone No. 1, my first composition for vibraphone. It is my first ever video-composition. The video is that of a sea turtle, taken in Beirut, Lebanon, on September 29, 2017.
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I had somehow avoided composing for the trumpet for many years, perhaps because my first composition for it, back in 1997, although perhaps unrealistically difficult for actual performance, I regarded as maybe my best composition, and perhaps with a supernaturalistic fear, I avoided to compose for trumpet for fear that I might not succeed to reproduce the same quality! However, after I composed my previous sententiae for trumpet and piano (posted here two days ago), it seems my inspiration to compose for trumpet was stimulated, and so I composed my first soliloquy for trumpet which I post now, as well as a second soliloquy for trumpet (hopefully to be posted soon). I think/hope that nearly two decades later, I have succeeded to recapture something of the same high quality but with much less difficulty and more playability in this long-awaited sequel to my first trumpet piece!
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Coming on the heels of my first soliloquy for trumpet, my "Soliloquy for Trumpet No. 2", the idea for which preceded its composition, is an attempt to depict the last trumpet the Bible tells us will sound at the second coming of Christ as described in verses such as the following: "... for the trumpet shall sound and the dead shall be raised incorruptible and we shall all be changed." 1 Corinthians 15:52 (see also 1 Thessalonians 4:16). I don't know how far this piece has succeeded to approximate that trumpet's true sound, music, and of course, its powerful impact. Only God knows - and our imaginations can imagine and judge!
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This is my second soliloquy for Bass Clarinet. Here is the link to the first one: http://www.youngcomposers.com/t34704/soliloquy-for-bass-clarinet-no-1/
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This is my 12th soliloquy for vioncello. I composed it in response to Monarcheon's "Solo Cello Writing Challenge". It was inspired by the following respectively: 1) Learning about the challenge 2) Hearing distant, barely audible, dream-like notes of music probably from the radio of a car that I heard late at night 3) A more personal inspiration. Here is the link to my previous soliloquy for violoncello: http://www.youngcomposers.com/archive/music/listen/7696/soliloquy-for-violoncello-no-11/ Edit: There was an error in the opus number of the piece. I corrected it just now (March 6, 2017, 4:25GMT). So if anyone downloaded the previous score, please disregard it and download the current one.
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This is my 10th soliloquy for piano. Here is the link to my 9th piano soliloquy: http://www.youngcomposers.com/t33979/soliloquy-for-piano-no-9/
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This is my first composition for Bass Clarinet. I appreciated the possibilities of the lower range that it affords. I hope that you enjoy it. I would be very interested to hear how it would sound played on an actual instrument.
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This is my 18th soliloquy for clarinet (in Bb). It is one of my longer soliloquies, and one of the best ones in my opinion. As usual, the score is the transposing one. Here is the link to my previous clarinet soliloquy: http://www.youngcomposers.com/t33963/soliloquy-for-clarinet-no-17/
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This is my 6th soliloquy for viola. I got inspired to compose it after reading of a call for solo viola pieces. I listened to some viola solos, including my own 5th soliloquy, to see if I would be inspired with anything. And sure enough, I was suddenly inspired and quickly wrote down the start of this short soliloquy and completed it in one sitting. Here is the link to my 5th soliloquy for viola: http://www.youngcomposers.com/t33870/soliloquy-for-viola-no-5/
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This is my first piece for alto recorder. I have had a soprano recorder from childhood but never learned to properly play it. I believe I also wrote a simple piece for myself to try to play, maybe a year or two ago. But unfortunately I never found it. This piece was inspired by and composed in response to Christian Perrotta's challenge for solo alto recorder pieces: http://www.youngcomposers.com/t34429/solo-alto-recorder-challenge/#comment-1186669797
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This is my first composition for accordion. I was inspired to compose a soliloquy for accordion after I received an accordion CD as a gift and was impressed how many famous classical pieces could be arranged for and played by the accordion, even orchestral pieces.
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This is my 29th soliloquy for violin. Here is the link to my previous violin soliloquy: http://www.youngcomposers.com/t34051/soliloquy-for-violin-no-28/
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This is my 9th Soliloquy for flute. For some reflective moods, I find the flute to be the best instrument for the soliloquy. Here is the link to my previous soliloquy for flute: http://www.youngcomposers.com/archive/music/listen/8289/soliloquy-for-flute-no-8/
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This piece of mine - Soliloquy for Violin No. 28: A Personal Reflection on Shakespeare's "To Be or Not to Be" Question (Hamlet) ('Mi'* Be; Do Be; 'Mi' Be) - was inspired in response to the competition on the theme of Shakespeare that is currently being held in this website. However, it falls short of one of the criteria of the the competition in being less than five minutes long. I consider it to be one of my good pieces and so wanted to still share it. I hope you enjoy it. As for the extra-musical associations of the piece, I have already explained in the score via asterisks which I reproduce below: Mi ('մի') means "Don't" in Armenian. Therefore the beginning 3 measures "E B C B E B" translate to "Mi B Do B Mi B" and then to "Don't Be; Do Be; Don't Be", like an obsessive question haunting its victim. Regarding the last two notes of the piece, B & E, these last two notes end the piece, after four bars asserting "Do B(e)" again and again, by the note-word combination "Be Me", thus giving us a reason to choose to be, the notes at the same time spelling/commanding "BE"! I have tried as much as I can not to let the extramusical associations effect the quality of the music, even thought the music itself arises largely from them! To be sure, the music, in translating notes into words and words into notes, etc, might be taking the "To be or not to be" question a little to literally, but I hope that the music itself also gives some sense of the issues that the question deals with. It is for you to decide how far it has succeeded. I look forward to your feedback.
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This is my 9th soliloquy for piano. The first 12 bars constitute a sonata beginning/fragment I had composed years ago. So this piece felt kind of like the YC challenges where we composed based on each others' themes, only in this case I composed a piece based on a theme from my 19 years younger self! Here is the link to my 8th soliloquy for piano: http://www.youngcomposers.com/archive/music/listen/6667/soliloquy-for-piano-no-8/
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This is my 17th soliloquy for clarinet (in Bb). As with the 16th, I have provided the transposing score. Here is the link to my 16th clarinet soliloquy: http://www.youngcomposers.com/archive/music/listen/8305/soliloquy-for-clarinet-no-16/
