Well, I haven't written a note since the disaster. I've had some thoughts about doing some more publishing. From Her Husband's Hand is at the top of the list. All I need to do is proof, correct, and pdf it. Unfortunately, it's in a box in the attic and will have to wait until we move again in June. I'm still looking for a premiere of the orchestral version.
I'm also thinking of publishing Inner Sanctum. I set it in Finale, so it doesn't look as good as the ones in Score, but I don't want to spend any time on it. It looks fairly good and is ready to go. I just need to have a quick peek at the parts. The reduction of A Point of Amber Light is nearly there, too, but I may transfer it to Sibelius, as it is in an old version of Finale.
I'm also considering transferring Oyre's Garden into Sibelius and publishing that. It's my most performed piece, so it is probably worth getting it out there.
Stimmen is actually ready - I just need to make pdfs - and being a chamber work (fl, pf), is probably the most performable at this point in time. I've never heard the revised version, and although it was scheduled for two performances, I don't know if they ever happened.
Friday, May 25, 2012
Thursday, April 12, 2012
Crash: Burn
A week or so ago, I sent out a pdf of what I had (ca 70%) of the concerto to the conductor, so he could get an early start on the piece.
Today, I got some disappointing news back: the conductor loved it, but ...
... the orchestra cancelled the performance. Because:
1) There was a section that was too hard. (It is still early enough to simplify.)
2) The string parts were too difficult. (Really? Anyway, ditto.)
3) The committee felt that the piece wasn't something the Scarborough public would enjoy. (Dammit, they had recordings of my music. They knew what to expect!)
Yes, that was the bottom line. They'd been talked into programming the piece, not really wanting to play something "new." What did they want? Philip Glass? I've got news for you folks; his music is hard - I mean really hard - to play. It's not like I'm Uncle Milty (Babbitt).
I've offered them another piece, but it has already been played several times, and I'm not going to spend £1000 just to go hear an ordinary (at best) performance. I probably won't even receive any performance rights for it. (I didn't the last time it was played in St John's Smith Square, a major concert venue.) The Spa in Scarborough just doesn't rate that high. I doubt they will go for it anyway.
What now?
In the short term, I'm too busy to work on it. Will I finish it? I don't know right now. If anyone is interested, I will, of course.
What will happen to this blog? I don't know. I suppose I'll keep it for my composing thoughts (if I ever compose again).
<expletive:deleted>
Sunday, March 11, 2012
Tentative thoughts
I need to get my Cantica arrangement done soon. I've had too many interruptions - mid-term exams, and other work. I have a set of parts to do before Wednesday, but then I'm going to knuckle down and do it, hopefully by the end of March.
I finally had some constructive thoughts about the concerto. I've been laying what I had down in Sibelius, just to do something productive, but I had some ideas while I was in the shower this morning. I haven't been happy with the beginnings of the piano interlude after the opening 3' section of the piece. It seemed too square. I need to loosen up the melody and make the accompaniment more like a murmur. That way it will flow better into the improvisatory section that follows and the subsequent aleatory music with - wait for it - a trombone solo.
I've also decided that the piece begins too abruptly. My original concerto sketches included a slow introduction, so I'm going to reinstate it, but within the new harmonic scheme.
Finally, the ending. The Parsifal-like theme needs to return, and I'm opting for a repetitive arpeggio accompaniment, sort of like Bruckner's Te Deum upside-down, but of course, using my harmonies. The orchestra will need something easy after the section they just played, so the ending doesn't end up a train-wreck.
Okay, now back to the arrangement.
I finally had some constructive thoughts about the concerto. I've been laying what I had down in Sibelius, just to do something productive, but I had some ideas while I was in the shower this morning. I haven't been happy with the beginnings of the piano interlude after the opening 3' section of the piece. It seemed too square. I need to loosen up the melody and make the accompaniment more like a murmur. That way it will flow better into the improvisatory section that follows and the subsequent aleatory music with - wait for it - a trombone solo.
I've also decided that the piece begins too abruptly. My original concerto sketches included a slow introduction, so I'm going to reinstate it, but within the new harmonic scheme.
Finally, the ending. The Parsifal-like theme needs to return, and I'm opting for a repetitive arpeggio accompaniment, sort of like Bruckner's Te Deum upside-down, but of course, using my harmonies. The orchestra will need something easy after the section they just played, so the ending doesn't end up a train-wreck.
Okay, now back to the arrangement.
Sunday, February 19, 2012
Back to the grindstone
The paste-up arrangement is done now. I've spent the last couple of days arranging the third movement of Chaos for piano and orchestra. They aren't really defined movements because they are so short and the material from the first movement is transposed to the set of the last movement as a coda. It's all played straight through.
I had some Sibelius issues, partly related to transferring it from Finale, that I've finally fixed them (I think), so the next job is to set the middle movement and make the piano more prominent.
Rather than being a soloist, the piano is more like the engine of the structure. There are places where it dominates, but it rarely is completely independent. I'm hoping to rectify that in the middle movement and the closing section. At the end of the first "movement", there is a lyrical section with the piano alone, to be followed by an improvisation section where the piano improvises on given chords over an aleatoric tableaux. The aleatory continues as the second movement proper begins, but the piano is joined by the first trombone as a co-soloist, sort of like Nielsen's flute concerto. I still have to re-score that for orchestra, but I'll also be adding more piano music.
I had some Sibelius issues, partly related to transferring it from Finale, that I've finally fixed them (I think), so the next job is to set the middle movement and make the piano more prominent.
Rather than being a soloist, the piano is more like the engine of the structure. There are places where it dominates, but it rarely is completely independent. I'm hoping to rectify that in the middle movement and the closing section. At the end of the first "movement", there is a lyrical section with the piano alone, to be followed by an improvisation section where the piano improvises on given chords over an aleatoric tableaux. The aleatory continues as the second movement proper begins, but the piano is joined by the first trombone as a co-soloist, sort of like Nielsen's flute concerto. I still have to re-score that for orchestra, but I'll also be adding more piano music.
Sunday, February 5, 2012
Hooky is just a game
Last night I straightened up my office. On my work table, I laid my Chaos sketches in the anticipation that I might work on them. Maybe today, but things will get dicey again in a couple of days. I have another rush reorchestration coming, and that's a paste-up job for performances in March.
Is that another arrangement? I guess it is. I also learned that Bach to the Future will be premiered March 27 and repeated in the July concerts. I've also started the other arrangement for those concerts.
Is that another arrangement? I guess it is. I also learned that Bach to the Future will be premiered March 27 and repeated in the July concerts. I've also started the other arrangement for those concerts.
Thursday, October 20, 2011
Still playing hooky
We're packing up for our move, and I won't have any free time until the middle of November. Composing? Well, it's just one of those things that are getting pushed aside. I'm keeping my manuscript with me so I can write, after the house is emptied of our belongings. I may just orchestrate the rest of what is already written until I have something useful in my head.
Sunday, September 4, 2011
Playing Hooky
I've just spent most of the last few days in Amsterdam. I thought about taking my concerto with me, but I decided against it. I wouldn't have touched it anyway. I was there for JD's conference, and haven't been there in about 10 years, so I wanted to have a wander. I might put some pics up on Facebook if I get inspired.
Now I'm home, I don't feel like doing anything substantial. I didn't sleep very well while away, and we rose very early for our flight this morning (4 am BST).
I need to get back to it sooner rather than later, but I've had a fair amount of work come in this week (including an arrangement), so we'll see what happens.
Now I'm home, I don't feel like doing anything substantial. I didn't sleep very well while away, and we rose very early for our flight this morning (4 am BST).
I need to get back to it sooner rather than later, but I've had a fair amount of work come in this week (including an arrangement), so we'll see what happens.
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