Wednesday, July 8, 2020
Monday, July 6, 2020
Monday, October 14, 2019
In the thick of it
I'm deep in the thick of things now. I missed a lot of composing time during the summer, but I do have a series of sketches to work from.
If I only had some time.
In the midst of my semester of teaching, I'm also typesetting parts for a new work by Hans Abrahamsen, a horn concerto, and have another set of parts due in the middle of November for another composer.
I have no doubt I'll make those deadlines, but it is taking me away from my composing until they are done.
In the meantime I have a premiere next week of the latest version of Paradiso, a full(-ish) orchestra version, at the College Music Society national convention. It goes back to the original version, except that there is no soprano saxophone, harp, or piano available. Without the piano, I also had to change the ending, adding two more bars. I don't know if I'll change the other versions, yet. The piano had a flourish during the final chord, and it just didn't work in other instruments, so I gave in a more final ending. I'm going out to hear a rehearsal Tuesday of next week before the Thursday premiere. (Oct 24 at 8 pm, University of Louisville Symphony Orchestra.)
Other than that, I don't have a sniff of a performance until I finish my piece for Tenor Sax and string quartet, which still doesn't have a name. My run of performances hasn't really survived the move to Cincinnati, unfortunately. I've submitted pieces for a number of concert series, but nothing has stuck.That isn't the best way of getting performances, but I need to keep my oars in the water until something happens, another commission or something.
Next semester, I'm teaching an overload, including two new courses, so I won't have much free time.
Back to the grindstone ...
If I only had some time.
In the midst of my semester of teaching, I'm also typesetting parts for a new work by Hans Abrahamsen, a horn concerto, and have another set of parts due in the middle of November for another composer.
I have no doubt I'll make those deadlines, but it is taking me away from my composing until they are done.
In the meantime I have a premiere next week of the latest version of Paradiso, a full(-ish) orchestra version, at the College Music Society national convention. It goes back to the original version, except that there is no soprano saxophone, harp, or piano available. Without the piano, I also had to change the ending, adding two more bars. I don't know if I'll change the other versions, yet. The piano had a flourish during the final chord, and it just didn't work in other instruments, so I gave in a more final ending. I'm going out to hear a rehearsal Tuesday of next week before the Thursday premiere. (Oct 24 at 8 pm, University of Louisville Symphony Orchestra.)
Other than that, I don't have a sniff of a performance until I finish my piece for Tenor Sax and string quartet, which still doesn't have a name. My run of performances hasn't really survived the move to Cincinnati, unfortunately. I've submitted pieces for a number of concert series, but nothing has stuck.That isn't the best way of getting performances, but I need to keep my oars in the water until something happens, another commission or something.
Next semester, I'm teaching an overload, including two new courses, so I won't have much free time.
Back to the grindstone ...
Monday, August 12, 2019
I'm confused
I tried to post to this blog from my laptop while I was out of the country, but on my desktop, I seem to be able to.
This is really frustrating. My other blog is the same. As far as I can tell, I am logged in through the same account.
I'll post something here in due course.
This is really frustrating. My other blog is the same. As far as I can tell, I am logged in through the same account.
I'll post something here in due course.
Wednesday, May 22, 2019
Moving along
I spent some time yesterday with my new material, transposing and classifying all the sets (5/7), and little else. Today, however, was more productive. I'm fleshing out a progression, figuring out what portions of the sets work - well, they mostly do, but more how they relate to each other. If discovered that if I put the C/Eb on the bottom it sounds more like a tonic chord, than if D/F# are on the bottom. Basically, it doesn't really matter where the B appears.
Yes, that is D Eb F# B C for the 5-note set (Set I). Set V is all the other notes.
I'm not sure how that affects my D tonal center yet. At the moment, I'm fine with it. I just need to be aware of my cadences. There will still be a D in the chord, but it won't be on the bottom.
Thus far, I'm jotting down several fragments, with no real concern about how they will fit together. I have a 7 chord progression for the strings, a longish melody for the Tenor Sax (without rhythm at the moment), with chords implied (and a progression), as well as another sustained quartet passage which the sax joins about 15-20 seconds into it.
That's all with the new material. I have a few fragments and a progression with the old material. Looking at the sets, I might be able to use them together. The old Set I (D G B C Db) has many intervals in common with the new Set I - 3 notes the same and the others are only a semitone different (or in the opposite direction). It's the old Set V that is too full of semitones.
I'll work some more on it tomorrow. I need to let it steep a bit.
Yes, that is D Eb F# B C for the 5-note set (Set I). Set V is all the other notes.
I'm not sure how that affects my D tonal center yet. At the moment, I'm fine with it. I just need to be aware of my cadences. There will still be a D in the chord, but it won't be on the bottom.
Thus far, I'm jotting down several fragments, with no real concern about how they will fit together. I have a 7 chord progression for the strings, a longish melody for the Tenor Sax (without rhythm at the moment), with chords implied (and a progression), as well as another sustained quartet passage which the sax joins about 15-20 seconds into it.
That's all with the new material. I have a few fragments and a progression with the old material. Looking at the sets, I might be able to use them together. The old Set I (D G B C Db) has many intervals in common with the new Set I - 3 notes the same and the others are only a semitone different (or in the opposite direction). It's the old Set V that is too full of semitones.
I'll work some more on it tomorrow. I need to let it steep a bit.
Monday, May 20, 2019
Inspiration ...
... or you could say "lack of."
As of today, that isn't entirely true. I've been trying to get some notes down on paper, and while I have a few, I wasn't really happy about any until today.
Yay!
Not so fast. That may may mean discarding everything that I've done before today. It's not a huge amount, but I hate to do that. I'm still rather unmotivated. After coming up with the new material today, I plinked around on the piano and was satisfied. It had a sound world that I was comfortable with. I took Jenny to work, did my workout at the gym, and then I was back in procrastination mode.
What is going to make this piece difficult - and what has made it difficult so far - is that I am using 5 and seven note sets, but I only have a tenor sax and a string quartet, i.e. 5 instruments. Of course, I can use double-stops in the strings and not use the entire set in the chords. It just leaves me the choice of what notes not to use: which notes can I drop from the chord without losing the color of the set. It's not that difficult in the 5 note set in the string quartet context. As long as I keep D and F#, I can use any two of the other notes and still get the flavor of the chord. If I think of the 7-note set as two chords, I can use either as 3-note chords and add one from the other, of two notes from each of the chords, to get the polychord flavor.
I also have 17-note row, which distills into a 12-note row - D# and D can appear in multiple positions. I haven't decided whether I'll use permutations of the 17-note version, or just the 12-note one, and leave the 17-note one as a melodic outline.
Formally, I'm leaning towards a similar pattern to Labyrinth (and the sketches for Sym. No 4) which is 3 main movements separated by two free interludes.
My plan looks like this:
I. Slow and dark
II. Interlude - free (Ten. sax and one other instrument)
III. Free - fast fragments darting here and there
IV. Interlude 2 - free (Ten. sax and a different instrument or two)
V. Fast irregular rhythms
It may all change, of course. BTW, I didn't like my original material because it was too dissonant, and the sets were too similar. Sometimes with all that dissonance, you need some pure consonant intervals to clear the air. There was a perfect 5th in each, but the rest of the sets held a preponderance of semitones, and I kept being forced to use tritones from one of the notes of the P5.
That's probably too much information for most of you. Needless, to say. I've found the material, so now I need to excavate the piece from it. I think coming up with a title would help, but I don't have it yet.
As of today, that isn't entirely true. I've been trying to get some notes down on paper, and while I have a few, I wasn't really happy about any until today.
Yay!
Not so fast. That may may mean discarding everything that I've done before today. It's not a huge amount, but I hate to do that. I'm still rather unmotivated. After coming up with the new material today, I plinked around on the piano and was satisfied. It had a sound world that I was comfortable with. I took Jenny to work, did my workout at the gym, and then I was back in procrastination mode.
What is going to make this piece difficult - and what has made it difficult so far - is that I am using 5 and seven note sets, but I only have a tenor sax and a string quartet, i.e. 5 instruments. Of course, I can use double-stops in the strings and not use the entire set in the chords. It just leaves me the choice of what notes not to use: which notes can I drop from the chord without losing the color of the set. It's not that difficult in the 5 note set in the string quartet context. As long as I keep D and F#, I can use any two of the other notes and still get the flavor of the chord. If I think of the 7-note set as two chords, I can use either as 3-note chords and add one from the other, of two notes from each of the chords, to get the polychord flavor.
I also have 17-note row, which distills into a 12-note row - D# and D can appear in multiple positions. I haven't decided whether I'll use permutations of the 17-note version, or just the 12-note one, and leave the 17-note one as a melodic outline.
Formally, I'm leaning towards a similar pattern to Labyrinth (and the sketches for Sym. No 4) which is 3 main movements separated by two free interludes.
My plan looks like this:
I. Slow and dark
II. Interlude - free (Ten. sax and one other instrument)
III. Free - fast fragments darting here and there
IV. Interlude 2 - free (Ten. sax and a different instrument or two)
V. Fast irregular rhythms
It may all change, of course. BTW, I didn't like my original material because it was too dissonant, and the sets were too similar. Sometimes with all that dissonance, you need some pure consonant intervals to clear the air. There was a perfect 5th in each, but the rest of the sets held a preponderance of semitones, and I kept being forced to use tritones from one of the notes of the P5.
That's probably too much information for most of you. Needless, to say. I've found the material, so now I need to excavate the piece from it. I think coming up with a title would help, but I don't have it yet.
Wednesday, March 27, 2019
News
Wow, it's almost April, and I've been silent. Part of that has been due to a very large - huge - typesetting job, an opera, which consumed me from before Christmas until a couple of weeks ago. The little time I had was devoted to preparing for the classes I am teaching. Now I feel like I have some time to devote to my true calling.
One of the things that has happened during this period, and it happened only Monday of this week, is that a new version of Paradiso has been chosen to be premiered at the College Music Society National Conference in Louisville on Oct. 24. So what is this new version and when did I have time to write it? When I saw the call for scores, I thought that maybe that the time was ripe for a premiere of the original version for chamber orchestra. The 12' time limit meant that Chaos and Symphony No 3 were out of the question, and after I decided to go for it, I realized that the available orchestra didn't include soprano saxophone, piano, nor harp. Annoying, yes, but I had already arranged it for sinfonietta, without harp or sax, so why not include piano and put a few things back in that I'd removed for the sinfonietta version. I got to the ending, which I needed to change anyway after the performance of the sinfonietta version, and found that it didn't work as it was without piano, so I made a major change, adding two bars to the ending to make it work. That doesn't sound major, but it involved changing the meaning of the ending in my head. I still have to decide whether to go back and change the other versions.
Aside from that, I need to get down to writing my tenor sax piece (tenor and string quartet). I've started and stopped several times, in some cases even short of writing things down. I really need to start keeping a composing journal again - a paper one. At least I could remember some of the fleeting ideas I had for it.
What else? I want to write 3 more movements to add to The Black Pool. It's the water movement of an Earth, Air, Fire, Water piece. The plan is to make them all around 2 minutes long and orchestrate them each in (or after) a style of a different composer, without actually copying the compositional style. Air was going to be Webern, Fire possibly Stravinsky, and Earth Lutoslawski, although my orchestration isn't far from his anyway.
I might also write a few more movements to Temps (cl, vl, vc, pf). There is a solo clarinet movement and Time Knot already finished, and I might borrow a movement or two from Labyrinth, since it is the same harmonic material, probably the second. I was also thinking of the third, but I'm not sure it would work with this ensemble.
A Mighty Fortress is still on the back burner, and the last movement of Night Visions is still a pipe dream. With the assistance of my Advanced Music Engraving class, I have also created a version of Chaos for sinfonietta, which I'm hoping to get a performance for, in the near future.
Well, that's all for now. Time to cook some dinner.
One of the things that has happened during this period, and it happened only Monday of this week, is that a new version of Paradiso has been chosen to be premiered at the College Music Society National Conference in Louisville on Oct. 24. So what is this new version and when did I have time to write it? When I saw the call for scores, I thought that maybe that the time was ripe for a premiere of the original version for chamber orchestra. The 12' time limit meant that Chaos and Symphony No 3 were out of the question, and after I decided to go for it, I realized that the available orchestra didn't include soprano saxophone, piano, nor harp. Annoying, yes, but I had already arranged it for sinfonietta, without harp or sax, so why not include piano and put a few things back in that I'd removed for the sinfonietta version. I got to the ending, which I needed to change anyway after the performance of the sinfonietta version, and found that it didn't work as it was without piano, so I made a major change, adding two bars to the ending to make it work. That doesn't sound major, but it involved changing the meaning of the ending in my head. I still have to decide whether to go back and change the other versions.
Aside from that, I need to get down to writing my tenor sax piece (tenor and string quartet). I've started and stopped several times, in some cases even short of writing things down. I really need to start keeping a composing journal again - a paper one. At least I could remember some of the fleeting ideas I had for it.
What else? I want to write 3 more movements to add to The Black Pool. It's the water movement of an Earth, Air, Fire, Water piece. The plan is to make them all around 2 minutes long and orchestrate them each in (or after) a style of a different composer, without actually copying the compositional style. Air was going to be Webern, Fire possibly Stravinsky, and Earth Lutoslawski, although my orchestration isn't far from his anyway.
I might also write a few more movements to Temps (cl, vl, vc, pf). There is a solo clarinet movement and Time Knot already finished, and I might borrow a movement or two from Labyrinth, since it is the same harmonic material, probably the second. I was also thinking of the third, but I'm not sure it would work with this ensemble.
A Mighty Fortress is still on the back burner, and the last movement of Night Visions is still a pipe dream. With the assistance of my Advanced Music Engraving class, I have also created a version of Chaos for sinfonietta, which I'm hoping to get a performance for, in the near future.
Well, that's all for now. Time to cook some dinner.
Sunday, December 2, 2018
Procrastinating
My last post was around the time of my concert at CCM. It went well. The recordings are now all on YouTube.com. If you want the full concert, listen to them in this order:
Remembering the Night Sky
Labyrinth
From Her Husband's Hand
Meanwhile, I've been teaching and setting a new arrangement of Paradiso for orchestra. It's similar to the unperformed original version, but I needed to remove the piano and soprano saxophone. I had already removed the harp in the two smaller versions, but I was able to reinstate the tuba part. Like the original, this version is essentially for chamber orchestra, rather than sinfonietta.
Coming up, I am still working on the piece for Tenor Sax and string quartet. At one point, I had a name for it, but I never wrote it down, and I've since lost that train of thought. Maybe it will come back to me.
During the next few months, I'll be setting parts for an opera (not mine), so composing time will be hard to come by. I've had some more thoughts on the wind ensemble piece and Temps. I still have a desire to write my 4th symphony and another piano concerto (a real concerto this time), but I'm hesitant to start on either before I have a sniff of a performance, or a performance of Sym. No 3 or Chaos.
And, of course, there is that two minutes of Bass Trombone Concerto or Concertino that is waiting to be continued.
I'm supposed to be working on that opera, so I guess I need to get back to it...
Remembering the Night Sky
Labyrinth
From Her Husband's Hand
Meanwhile, I've been teaching and setting a new arrangement of Paradiso for orchestra. It's similar to the unperformed original version, but I needed to remove the piano and soprano saxophone. I had already removed the harp in the two smaller versions, but I was able to reinstate the tuba part. Like the original, this version is essentially for chamber orchestra, rather than sinfonietta.
Coming up, I am still working on the piece for Tenor Sax and string quartet. At one point, I had a name for it, but I never wrote it down, and I've since lost that train of thought. Maybe it will come back to me.
During the next few months, I'll be setting parts for an opera (not mine), so composing time will be hard to come by. I've had some more thoughts on the wind ensemble piece and Temps. I still have a desire to write my 4th symphony and another piano concerto (a real concerto this time), but I'm hesitant to start on either before I have a sniff of a performance, or a performance of Sym. No 3 or Chaos.
And, of course, there is that two minutes of Bass Trombone Concerto or Concertino that is waiting to be continued.
I'm supposed to be working on that opera, so I guess I need to get back to it...
Wednesday, September 5, 2018
I hadn't realized that it's been so long ...
Lots has happened since my last post. Self-funding a recording is currently off the cards, for non-musical reasons which I won't go into. I'm still thinking about it, but I'll need to find considerable funding before I can take the plunge.
I have a faculty recital scheduled for Sept. 30 at 4 pm in the Werner Recital Hall at CCM (University of Cincinnati). Featured on the program will be a new chamber version of From Her Husband's Hand, with Diane Hunger on Alto Sax. She will also play the chamber version of Remembering the Night Sky. These two works will be split by Labyrinth, which was recorded last January by the Society for New Music. I made the first edits during the summer, and I look forward to hearing the rough cut.
I recently discovered NotePerformer3 and have made good quality audio files of Symphony No. 3 and Chaos. Although there are some minor balance issues (software related, I think), both recordings sound almost real at times. I've also embarked on a revision of Symphony No. 1, basically to take away the embarrassing bits in the third movement and clean up some other spots that sound a little square. I don't know if it will ever be as good as the second or third symphonies, but I there are some good things in it which deserve to be heard. It should sound pretty good in NotePerformer, since there isn't anything unusual in it, like aleatorics. FWIW, Dystopian Sunset sounds really good, too, except for the "Clouds" which seem to no longer be a 1/4-tone after the first cloud. I don't know why it resets and I can't seem to un-reset it. The balance between the two ensembles is wrong, too. Again, I can't seem to adjust it.
I've got a few projects on: a piece for Tenor Sax and string quartet for Diane Hunger. I'm not entirely sure about another project. I have some piano concerto sketches and more symphonic sketches, one of them being part of the piano concerto, before the piano comes in. It may be two pieces, a second piano concerto and Sym. No. 4 (or a concerto for orchestra), since I'm not sure the material goes together.
I must go teach now, so I'll post more when I have time.
I have a faculty recital scheduled for Sept. 30 at 4 pm in the Werner Recital Hall at CCM (University of Cincinnati). Featured on the program will be a new chamber version of From Her Husband's Hand, with Diane Hunger on Alto Sax. She will also play the chamber version of Remembering the Night Sky. These two works will be split by Labyrinth, which was recorded last January by the Society for New Music. I made the first edits during the summer, and I look forward to hearing the rough cut.
I recently discovered NotePerformer3 and have made good quality audio files of Symphony No. 3 and Chaos. Although there are some minor balance issues (software related, I think), both recordings sound almost real at times. I've also embarked on a revision of Symphony No. 1, basically to take away the embarrassing bits in the third movement and clean up some other spots that sound a little square. I don't know if it will ever be as good as the second or third symphonies, but I there are some good things in it which deserve to be heard. It should sound pretty good in NotePerformer, since there isn't anything unusual in it, like aleatorics. FWIW, Dystopian Sunset sounds really good, too, except for the "Clouds" which seem to no longer be a 1/4-tone after the first cloud. I don't know why it resets and I can't seem to un-reset it. The balance between the two ensembles is wrong, too. Again, I can't seem to adjust it.
I've got a few projects on: a piece for Tenor Sax and string quartet for Diane Hunger. I'm not entirely sure about another project. I have some piano concerto sketches and more symphonic sketches, one of them being part of the piano concerto, before the piano comes in. It may be two pieces, a second piano concerto and Sym. No. 4 (or a concerto for orchestra), since I'm not sure the material goes together.
I must go teach now, so I'll post more when I have time.
Wednesday, January 17, 2018
State of play
I did finally pull the plug on a recording of Inner Sanctum, however I'm still negotiating with them. We discussed briefly a recording of Oyre's Garden, but that is an old piece, and I'm not sure an 8 minute piece on a compilation is good value for money with where I am at now.
As I am known mostly for my saxophone music, we are now discussing a recording of From Her Husband's Hand. There are a lot of things still up in the air on it, but I'm awaiting their proposal. Then comes the ugly task of financing it. Some of that will depend on who performs it and where. So far, our discussions have included at least one live performance (on a regular concert) along with the recording. It would still be a compilation, but the piece is more substantial and about twice as long. And it will probably cost more.
Any recommendations on crowdfunding sources?
Aside from that, composing ...
I think my next piece will be a short orchestral work - and I mean really short - for a small competition. I've been wanting to write for orchestra, so this might be a way back in. There is no money or even a performance in it, but I have an idea, so I might give it a go. The contest theme is the Elements. Mine will be water. I've got a sound world in my head, and a tentative title: The Black Pool. (Not to be confused with the city of Blackpool in England.) It may eventually become something larger, and that probably means it won't win the competition.
After that, I don't know. I would like to write some piano music, but I may arrange From Her Husband's Hand for the same size ensemble as Remembering the Night Sky to increase the performance possibilities. Otherwise, I seem to have ground to a halt. I'm just way too busy with teaching and typesetting work.
I still have a recording session coming up in Syracuse - Labyrinth - followed by another performance of it on Feb. 16. Half the ensemble is different from last time, so we will see how that goes. I'm not sure if I'll be able to make it to the rehearsal before the recording session. (That would mean flying out and back on the same day.)
Well, that is where things stand now.
As I am known mostly for my saxophone music, we are now discussing a recording of From Her Husband's Hand. There are a lot of things still up in the air on it, but I'm awaiting their proposal. Then comes the ugly task of financing it. Some of that will depend on who performs it and where. So far, our discussions have included at least one live performance (on a regular concert) along with the recording. It would still be a compilation, but the piece is more substantial and about twice as long. And it will probably cost more.
Any recommendations on crowdfunding sources?
Aside from that, composing ...
I think my next piece will be a short orchestral work - and I mean really short - for a small competition. I've been wanting to write for orchestra, so this might be a way back in. There is no money or even a performance in it, but I have an idea, so I might give it a go. The contest theme is the Elements. Mine will be water. I've got a sound world in my head, and a tentative title: The Black Pool. (Not to be confused with the city of Blackpool in England.) It may eventually become something larger, and that probably means it won't win the competition.
After that, I don't know. I would like to write some piano music, but I may arrange From Her Husband's Hand for the same size ensemble as Remembering the Night Sky to increase the performance possibilities. Otherwise, I seem to have ground to a halt. I'm just way too busy with teaching and typesetting work.
I still have a recording session coming up in Syracuse - Labyrinth - followed by another performance of it on Feb. 16. Half the ensemble is different from last time, so we will see how that goes. I'm not sure if I'll be able to make it to the rehearsal before the recording session. (That would mean flying out and back on the same day.)
Well, that is where things stand now.
Sunday, November 26, 2017
Starting over
Well, it's another holiday season, and I'm back to square one.
I've come to the conclusion that the recording project is a non-starter. The contribution they want from me is eye-watering. If I'm going to spend that much, I want top billing and more control over the performing forces. FWIW, they wanted to record Inner Sanctum, which would have been nice. I haven't shut the door yet, but that kind of contribution is more for a twenty-something still trying to make their way and become known. For me, the optics of funding my own recording (one of several works on a compilation) don't work. I will never earn back the money invested. I would have to sell upwards of 2000 copies. That won't happen unless it wins a big award. (Possibly even if it does.)
On the other hand, the SNM will record Labyrinth in February on a bigger label, and without a financial investment on my part. It may take five years before it is released, but that is out of my hands.
That said, I'm still in touch with the other company and may consider a disc of only my music. That would be a considerable investment, however, they say that an orchestral recording might be a better value for me, since they would do it overseas. It could be two symphonies, or a symphony and a concerto. It would, however, allow me some time to raise the money, whereas they would want the initial payment for the other recording before I had a chance to begin raising the rest of the money. I wouldn't want to get locked into paying for something I can't afford.
As far as composing is concerned, I've given up on the bass trombone concerto. I may still finish it, but I don't like the proposed length (6-8 min), and I think I would rather write it for tenor trombone, ideally with orchestra, unless someone wants to pay a commission for it. I've got a good two minutes for bass trombone and trombone octet, but it really projects to a larger work.
I was also going to submit my Symphony No 3 for something, but I've decided that the intended orchestra probably wasn't up to it.
I'm also still considering a wind ensemble piece, but I'm not feeling very inspired about it. I've had a few spring performances of other things fall through, and I just wonder if I should write some chamber music instead, possible more of Temps.
A commission would focus the mind. Any takers?
I've come to the conclusion that the recording project is a non-starter. The contribution they want from me is eye-watering. If I'm going to spend that much, I want top billing and more control over the performing forces. FWIW, they wanted to record Inner Sanctum, which would have been nice. I haven't shut the door yet, but that kind of contribution is more for a twenty-something still trying to make their way and become known. For me, the optics of funding my own recording (one of several works on a compilation) don't work. I will never earn back the money invested. I would have to sell upwards of 2000 copies. That won't happen unless it wins a big award. (Possibly even if it does.)
On the other hand, the SNM will record Labyrinth in February on a bigger label, and without a financial investment on my part. It may take five years before it is released, but that is out of my hands.
That said, I'm still in touch with the other company and may consider a disc of only my music. That would be a considerable investment, however, they say that an orchestral recording might be a better value for me, since they would do it overseas. It could be two symphonies, or a symphony and a concerto. It would, however, allow me some time to raise the money, whereas they would want the initial payment for the other recording before I had a chance to begin raising the rest of the money. I wouldn't want to get locked into paying for something I can't afford.
As far as composing is concerned, I've given up on the bass trombone concerto. I may still finish it, but I don't like the proposed length (6-8 min), and I think I would rather write it for tenor trombone, ideally with orchestra, unless someone wants to pay a commission for it. I've got a good two minutes for bass trombone and trombone octet, but it really projects to a larger work.
I was also going to submit my Symphony No 3 for something, but I've decided that the intended orchestra probably wasn't up to it.
I'm also still considering a wind ensemble piece, but I'm not feeling very inspired about it. I've had a few spring performances of other things fall through, and I just wonder if I should write some chamber music instead, possible more of Temps.
A commission would focus the mind. Any takers?
Monday, October 23, 2017
Kick-start revisited
I have been applying for a number of calls for scores, and one responded to me last week. I still haven't spoken to the project coordinator, but they want to record one or two of my pieces. The only catch is that I will have to contribute towards costs. They appear very interested, since their deadline isn't until November, but they were impressed enough that they contacted me right away (within two days of applying).
Saying that, they may treat all projects that way, putting out a call for scores and then telling everyone they like their work, until someone bites and plunks down the cash. I've looked for horror stories about them on the internet, but haven't found any, so they appear legit. They have over 300 records out, apparently, and record under 3 labels, all of which are distributed by Naxos.
I'm sure the cost will be huge, even if I am sharing it with other composers on the disc. What I don't know is if I'll be sharing it with the feature performers who were the originators of the call.
In any case, I'll need to apply for some grants, and then initiate a kick-starter (or equivalent) campaign, once I have an idea of the costs. Anyone have a preference? Kickstarter, GoFundMe, others? I've found a number of grant options. I just need to get some figures first.
Saying that, they may treat all projects that way, putting out a call for scores and then telling everyone they like their work, until someone bites and plunks down the cash. I've looked for horror stories about them on the internet, but haven't found any, so they appear legit. They have over 300 records out, apparently, and record under 3 labels, all of which are distributed by Naxos.
I'm sure the cost will be huge, even if I am sharing it with other composers on the disc. What I don't know is if I'll be sharing it with the feature performers who were the originators of the call.
In any case, I'll need to apply for some grants, and then initiate a kick-starter (or equivalent) campaign, once I have an idea of the costs. Anyone have a preference? Kickstarter, GoFundMe, others? I've found a number of grant options. I just need to get some figures first.
Friday, May 26, 2017
String Quartet No 4
I've sent the result to a quartet, as well as a competition. They wanted a recording, which isn't possible at this point, since I don't have a performance scheduled. I did, however, spend some time trying to make the audio file from Sibelius work. Until now, I haven't tried the quartertone playback plugin. I seems to work, except that sometimes the pitch bend doesn't turn off, and you get whole passages a quartertone out. I got around it by going back and inserting a lot of redundant OFF messages until it sounded right.
So what is next? If there is any interest in the quartet, I might go back and typeset/revise my first three quartets and publish them as a set. No. 3 is "quartertone city." It's a protracted progression in C major with quartertones thrown in to obscure it. I initially wrote it for a competition that wanted pieces in sonata form in C major. I don't think they were expecting this. In any case, I lost the info about the competition and never sent it in. The Aureole Quartet premiered it, but no one ever sent me the recording. No. 2 was never performed. I started it as my first quartet, and it has loads of textural layers. The quartet that it was intended for was in the process of disbanding, and they didn't really spend much time on it when they "read it down." The first quartet has a lot of really cool effects in it, but I need to go back and revise the things that weren't cool.
That's something to think about, but I need to write something new, perhaps the wind ensemble piece or the songs. I'll have a better idea when I learn what my typesetting load will be this summer. I should find that out on Monday, when my main editor gets back from his holiday/study-leave.
I could, of course, write some fiction, which is something I do, when I don't have any pressing composing to do. Let's see where the inspiration comes from.
Monday, May 22, 2017
Kick-start
Considering the consequences of that horrible day last week, I've been thinking about what I need to do to move things along in my career, at least to a point that I can feel comfortably satisfied about where I'm going.
Yes, I need to write some music. In the short term, I'm looking at some of the projects from a previous blog. Since much of Labyrinth was conceived as a string quartet, I've been revisiting it. I've pared down most of the first movement and the last third of the finale movement. I will probably drop the interludes - the second one would work fine, but the first one would need to be either solo violin, or have the piano accompaniment scored. I could do that and make a real movement out of it. That would give the quartet the traditional 4 movements. I want to enter it in a competition, so whatever I do, it will have to happen quickly. The big question is how much different I want to make it from the other piece. At the moment, it is a straight reduction. I might make some changes in the first movement, but the middle movement and finale will probably be reductions. I wouldn't be the first person to rescore larger works for smaller forces.
Anyway, the real reason for this blog is a recording. I need to get my music out there, and I would like to do it in a quality way: a real orchestra, with multiple takes and well-edited. It's going to be a while before Labyrinth is committed to CD, but as I consider myself an orchestral composer, I should be looking in that direction.
The first thing I'll need to do before I apply for grants, etc., or set up a crowd-funding campaign will be estimating costs.
To do that, though, I need to decide repertoire, and that is where I'll need some input.
1. Should it be a CD solely of my music, or should I get other composers involved?
Option A: I do have some friends who are pretty major composers who could be the "name" on the CD to help sell it. If I stick with American, that would limit me a little, but it might help with grant applications. I could consider recording one of my arrangements of Nรธrgรฅrd that haven't been recorded, which brings me to the next issue: a soloist. Helle Nacht and Between have been recorded, the later of which will probably be released next year. A chamber version (I think) of Remembering Child was recorded this year, which was basically the original version with a one on a part strings, not my sinfonietta version. There is an orchestra that may be touring with it this year, but it is probably too close to the other recording, especially as it would probably be with the same soloist. Cantica Concertante hasn't been performed, so that is another possibility. Otherwise, there are a few British composers that I would consider including. Then it would be a matter of choosing one or two of my pieces.
Option B: This is where I need more input. Do I go with pieces that have been performed, which I am confident that would have some appeal, or do I record new pieces that have not yet been performed? New pieces would be Symphony No. 3, Chaos, and possibly the Labyrinth Concerto. I probably wouldn't want to go with two concertos because of the cost (three different soloists). Those three are about 65 minutes of music altogether. As I don't have a good full recording of my two old pieces and one new. I've got 3 people who know From Her Husband's Hand (17'), one of whom lives not too far away. Then add Symphony No 3 (25').
2. That's all likely to be expensive. I could go smaller. My Dante Tryptich is about 30' long and while all three movements have been performed, none of the chamber orchestra versions have been, except for Paradiso, which has been done in a slightly altered sinfonietta version. Perhaps that, along with some of my other large chamber pieces (Chaos Theory, The Master's Hammer), and maybe Oyre's Garden. (Full orchestra with a small woodwind section.) A Point of Amber Light or From Her Husband's Hand could fit as the concerto. (Or Cantica Concertante.)
3. Forces. I think it would be a waste of money if there was no name recognition. I know someone in the Cincinnati Symphony, so I have a contact there. I have similar relationships with other orchestras here and in the UK, but the Cincinnati Symphony is local, and the recording engineer I have in mind has recorded them on several occasions. I know several people in Symphoria (formerly the Syracuse Symphony), but there wouldn't be much name recognition there. That might be the cheap option, though, unless I went overseas. If we did the Nรธrgรฅrd, I could probably use the New Music Orchestra of Poland, since the soloist is touring with them soon. They are a sinfonietta, so they would be suitable for the chamber orchestra disc, if that was the way I ultimately went. I don't really want to go with the Vienna Modern Masters or something like that, or with a university orchestra. (I know a couple of people who might read this have some experience with them.) Having an all-American cast would open up more grant money.
4. Conductor. Yes, I could do it, but I think having a full-time professional conductor would result in better use of rehearsal time. I have an idea whom I want, but he isn't American. I have to think about it. If we do Sym No. 3, maybe I could convince the dedicatee to come out of retirement for it. (He might even read this blog.) Soloists, I'm pretty set on.
5. Pipe dream. I would rather think of this as "Blue Sky" thinking. We are probably talking a 6-figure investment, and I probably won't achieve that much in a crowd-funding campaign. If I can get half of that, I might be able to get a grant body to match it.
OK, so I need your input at this point. Let me know your thoughts, either here or on Facebook, or by email.
Yes, I need to write some music. In the short term, I'm looking at some of the projects from a previous blog. Since much of Labyrinth was conceived as a string quartet, I've been revisiting it. I've pared down most of the first movement and the last third of the finale movement. I will probably drop the interludes - the second one would work fine, but the first one would need to be either solo violin, or have the piano accompaniment scored. I could do that and make a real movement out of it. That would give the quartet the traditional 4 movements. I want to enter it in a competition, so whatever I do, it will have to happen quickly. The big question is how much different I want to make it from the other piece. At the moment, it is a straight reduction. I might make some changes in the first movement, but the middle movement and finale will probably be reductions. I wouldn't be the first person to rescore larger works for smaller forces.
Anyway, the real reason for this blog is a recording. I need to get my music out there, and I would like to do it in a quality way: a real orchestra, with multiple takes and well-edited. It's going to be a while before Labyrinth is committed to CD, but as I consider myself an orchestral composer, I should be looking in that direction.
The first thing I'll need to do before I apply for grants, etc., or set up a crowd-funding campaign will be estimating costs.
To do that, though, I need to decide repertoire, and that is where I'll need some input.
1. Should it be a CD solely of my music, or should I get other composers involved?
Option A: I do have some friends who are pretty major composers who could be the "name" on the CD to help sell it. If I stick with American, that would limit me a little, but it might help with grant applications. I could consider recording one of my arrangements of Nรธrgรฅrd that haven't been recorded, which brings me to the next issue: a soloist. Helle Nacht and Between have been recorded, the later of which will probably be released next year. A chamber version (I think) of Remembering Child was recorded this year, which was basically the original version with a one on a part strings, not my sinfonietta version. There is an orchestra that may be touring with it this year, but it is probably too close to the other recording, especially as it would probably be with the same soloist. Cantica Concertante hasn't been performed, so that is another possibility. Otherwise, there are a few British composers that I would consider including. Then it would be a matter of choosing one or two of my pieces.
Option B: This is where I need more input. Do I go with pieces that have been performed, which I am confident that would have some appeal, or do I record new pieces that have not yet been performed? New pieces would be Symphony No. 3, Chaos, and possibly the Labyrinth Concerto. I probably wouldn't want to go with two concertos because of the cost (three different soloists). Those three are about 65 minutes of music altogether. As I don't have a good full recording of my two old pieces and one new. I've got 3 people who know From Her Husband's Hand (17'), one of whom lives not too far away. Then add Symphony No 3 (25').
2. That's all likely to be expensive. I could go smaller. My Dante Tryptich is about 30' long and while all three movements have been performed, none of the chamber orchestra versions have been, except for Paradiso, which has been done in a slightly altered sinfonietta version. Perhaps that, along with some of my other large chamber pieces (Chaos Theory, The Master's Hammer), and maybe Oyre's Garden. (Full orchestra with a small woodwind section.) A Point of Amber Light or From Her Husband's Hand could fit as the concerto. (Or Cantica Concertante.)
3. Forces. I think it would be a waste of money if there was no name recognition. I know someone in the Cincinnati Symphony, so I have a contact there. I have similar relationships with other orchestras here and in the UK, but the Cincinnati Symphony is local, and the recording engineer I have in mind has recorded them on several occasions. I know several people in Symphoria (formerly the Syracuse Symphony), but there wouldn't be much name recognition there. That might be the cheap option, though, unless I went overseas. If we did the Nรธrgรฅrd, I could probably use the New Music Orchestra of Poland, since the soloist is touring with them soon. They are a sinfonietta, so they would be suitable for the chamber orchestra disc, if that was the way I ultimately went. I don't really want to go with the Vienna Modern Masters or something like that, or with a university orchestra. (I know a couple of people who might read this have some experience with them.) Having an all-American cast would open up more grant money.
4. Conductor. Yes, I could do it, but I think having a full-time professional conductor would result in better use of rehearsal time. I have an idea whom I want, but he isn't American. I have to think about it. If we do Sym No. 3, maybe I could convince the dedicatee to come out of retirement for it. (He might even read this blog.) Soloists, I'm pretty set on.
5. Pipe dream. I would rather think of this as "Blue Sky" thinking. We are probably talking a 6-figure investment, and I probably won't achieve that much in a crowd-funding campaign. If I can get half of that, I might be able to get a grant body to match it.
OK, so I need your input at this point. Let me know your thoughts, either here or on Facebook, or by email.
Sunday, February 12, 2017
What next?
Well, Labyrinth and Dystopian Sunrise (with Clouds) have been premiered, although I haven't yet heard the latter. The arrangement of Inner Sanctum premieres on Friday.
What next? I have some long term projects on the back burner:
1. Temps - an extended work for Messiaen quartet. It will include some movements from Labyrinth and Time Knot, as well as a clarinet solo movement that was originally planned for Labyrinth, but was left out, since I planned to feature Violin and Cello (because I planned on turning it into a double concerto).
2. Labyrinth Concerto - this is the double concerto for sinfonietta/chamber orchestra based on Labyrinth. I have already created a straight transcription, but I'm trying to decide if I should expand it at all. It's very difficult to re-envision an already finished work, so I'm not sure if I want to go there. I might add some improvised cadenzas. I'm consulting with possible soloists, but it may be complete as it stands.
3. A Mighty Fortress - I have a re-harmonization of JS Bach's chorale ready, however, after the original modulates, my harmonic system doesn't work so well. I need to find a way to deal with modulation - or do I? Re-harmonizing someone else's 4-part harmony into my 6-part harmony seems like an academic exercise. Is it one worth doing? The piece is for wind ensemble, if I do it.
4. Song Cycle - I have someone who wants me to write a song cycle, possibly based on my own poetry. Dare I? I've tried to do it before, and never finished any of the songs I started.
... I take that back. I already have two songs out there based on original poetry - very early original poetry that is very embarrassing. One of the songs is decent, though.
5. Orchestra piece. I have some sketches for an orchestra piece, but I left the orchestra for which I was writing it, and shelved it. I want to write more for orchestra, but I don't want to spend that much time on it, if I don't have a destination for it, especially since Symphony No 3 and Chaos, still haven't been performed, not to mention the chamber orchestra versions of my Dante tryptich (3 Pieces for Chamber Orchestra). This is where my compositional heart is, but why should I spend my time on something that may never get performed?
6. There are also fragments of a piano concerto - or two? I have the beginning of one with chamber orchestra, and fragments of one with full orchestra. I wanted to start a concerto from scratch when I was working on my commission, only to struggle for inspiration. Chaos was more piano concerto than wind ensemble piece, so I re-scored it for orchestra and finished it as a concerto, leaving the other concerto materials on the cutting room floor.
7. Piano piece(s) - It's probably time for me to write one. I have a couple of former students as well as a few other friends who might be willing to play it.
8. String Quartet (No. 4) - I was really thinking string quartet in the 3rd and 5th movements of Labyrinth. I could easily arrange them for quartet, and provide a couple of more movements.
The only problem with all this is that there are no commissions there - or even promises of performances (except maybe the songs). Having just completed an extended period of commissions, I find myself hitting a wall. Until I become better known at UC, I won't have anyone here asking me for music.
So is there anyone out there who wants a piece, either one of the above or something else? All offers considered.
What next? I have some long term projects on the back burner:
1. Temps - an extended work for Messiaen quartet. It will include some movements from Labyrinth and Time Knot, as well as a clarinet solo movement that was originally planned for Labyrinth, but was left out, since I planned to feature Violin and Cello (because I planned on turning it into a double concerto).
2. Labyrinth Concerto - this is the double concerto for sinfonietta/chamber orchestra based on Labyrinth. I have already created a straight transcription, but I'm trying to decide if I should expand it at all. It's very difficult to re-envision an already finished work, so I'm not sure if I want to go there. I might add some improvised cadenzas. I'm consulting with possible soloists, but it may be complete as it stands.
3. A Mighty Fortress - I have a re-harmonization of JS Bach's chorale ready, however, after the original modulates, my harmonic system doesn't work so well. I need to find a way to deal with modulation - or do I? Re-harmonizing someone else's 4-part harmony into my 6-part harmony seems like an academic exercise. Is it one worth doing? The piece is for wind ensemble, if I do it.
4. Song Cycle - I have someone who wants me to write a song cycle, possibly based on my own poetry. Dare I? I've tried to do it before, and never finished any of the songs I started.
... I take that back. I already have two songs out there based on original poetry - very early original poetry that is very embarrassing. One of the songs is decent, though.
5. Orchestra piece. I have some sketches for an orchestra piece, but I left the orchestra for which I was writing it, and shelved it. I want to write more for orchestra, but I don't want to spend that much time on it, if I don't have a destination for it, especially since Symphony No 3 and Chaos, still haven't been performed, not to mention the chamber orchestra versions of my Dante tryptich (3 Pieces for Chamber Orchestra). This is where my compositional heart is, but why should I spend my time on something that may never get performed?
6. There are also fragments of a piano concerto - or two? I have the beginning of one with chamber orchestra, and fragments of one with full orchestra. I wanted to start a concerto from scratch when I was working on my commission, only to struggle for inspiration. Chaos was more piano concerto than wind ensemble piece, so I re-scored it for orchestra and finished it as a concerto, leaving the other concerto materials on the cutting room floor.
7. Piano piece(s) - It's probably time for me to write one. I have a couple of former students as well as a few other friends who might be willing to play it.
8. String Quartet (No. 4) - I was really thinking string quartet in the 3rd and 5th movements of Labyrinth. I could easily arrange them for quartet, and provide a couple of more movements.
The only problem with all this is that there are no commissions there - or even promises of performances (except maybe the songs). Having just completed an extended period of commissions, I find myself hitting a wall. Until I become better known at UC, I won't have anyone here asking me for music.
So is there anyone out there who wants a piece, either one of the above or something else? All offers considered.
Thursday, December 22, 2016
Sitting down
As I'm sitting here exhausted, I've finished all my current commissions and am in that nervous time while the performers are rehearsing - probably finding that the pieces are each in their own way almost impossible to play. The arrangement of Inner Sanctum is a known entity, at least. The strings playing Labyrinth are going to hate me for the fast and frenetic final movement. The cellos in Dystopian sunrise are going to gasp for air from the stratospheric heights of their parts.
In the interim I'll start a new job, plan my new courses, do my UK taxes, and move in to our new house. We are halfway there. Somehow I'm going to have to figure out how to fit into my new (smaller) office, possibly the smallest one I've had, except for the 8x8' room I had in Saxmundham - but I was also renting a larger office in a nearby business center at the time. I'm nearly set up, but I have no idea where my books are going ... and the stereo. That's probably going down in the living room, but it may be too big.
Still much to do, but my body hurts, and it's only a few days until Christmas. Presents? Are you kidding? We haven't had time to think about them.
I'm ready for an early night.
In the interim I'll start a new job, plan my new courses, do my UK taxes, and move in to our new house. We are halfway there. Somehow I'm going to have to figure out how to fit into my new (smaller) office, possibly the smallest one I've had, except for the 8x8' room I had in Saxmundham - but I was also renting a larger office in a nearby business center at the time. I'm nearly set up, but I have no idea where my books are going ... and the stereo. That's probably going down in the living room, but it may be too big.
Still much to do, but my body hurts, and it's only a few days until Christmas. Presents? Are you kidding? We haven't had time to think about them.
I'm ready for an early night.
Saturday, December 3, 2016
Labyrinth
As I am sitting here (instead of going to bed), the score to Labyrinth is printing. All I have left is to proof and extract parts.
Even with a long lead time, most of the composition came down to the wire. I've been so busy with this semester and my move to Cincinnati, that I basically lost all my weekends. I don't think I've ever composed so quickly, and speaking of quick, the last movement is ridiculously fast with a lot of notes. It probably can't be played as quickly as the tempo I've marked, but I'm hoping the performers can prove me wrong. It's a very different beast than I originally envisioned, but I think it's good.
Premiere: Jan. 22 at 2 pm - Everson Museum of Art, Syracuse, NY
Even with a long lead time, most of the composition came down to the wire. I've been so busy with this semester and my move to Cincinnati, that I basically lost all my weekends. I don't think I've ever composed so quickly, and speaking of quick, the last movement is ridiculously fast with a lot of notes. It probably can't be played as quickly as the tempo I've marked, but I'm hoping the performers can prove me wrong. It's a very different beast than I originally envisioned, but I think it's good.
Premiere: Jan. 22 at 2 pm - Everson Museum of Art, Syracuse, NY
Monday, August 15, 2016
I was thinking today. (Not to be recommended.) I was trying to come up with some monster courses for non-music majors, but that morphed into odd dissertation topics. Here are a few of them:
Smoke on the Water: Autobiography and Social Discourse in the Lyrics of Deep Purple.
Dysfunction: Harmonic Apathy in mid-20th Century Art Music.
Let's Make Music Great Again: The Fall and Fall of the Arts and Culture in Public Schools.
Do you have any ideas?
Smoke on the Water: Autobiography and Social Discourse in the Lyrics of Deep Purple.
Dysfunction: Harmonic Apathy in mid-20th Century Art Music.
Let's Make Music Great Again: The Fall and Fall of the Arts and Culture in Public Schools.
Do you have any ideas?
Monday, June 6, 2016
Into the Labyrinth ...
... well, that title is taken, but I'm finally working on my SNM commission: Labyrinth, for fl, cl, tpt, pf, and string quartet. It was going to be two movements separated by an interlude/cadenza. As I started working, it was clear to me that it had to be three movements separated by interludes. I wanted to write a six-part chorale setting, and it wasn't going to be a significant movement, so it will be part of a short middle movement.
The plan is to make it a mini double concerto, featuring violin and cello, but at this point in time the interludes will feature other instruments, probably trumpet and flute. Why? That's a long explanation, but I'll give you the short version. Last year, when I derived the sets for it, I wrote a short clarinet quartet, Time Knot, which was eventually going to be part of Labyrinth, a 9-movement monster with a solo movement for each instrument. That could easily balloon to a piece larger than my 18-20 minute commission. I've written the opening movement for clarinet, and a little of the second movement, but all that material was based on 6-notes sets (and a row divided into layers).
When I started Labyrinth, I opted for sets of 5 and 7 notes, based on the same row. They classify into functional units better than 6-note sets. Now, there is nothing saying that I have to use the same divisions for all the movements, but I want to use them differently, and I'm not convinced that they will fit together. I also wanted to use larger structures, which won't work in a piece of nine 1-3' movements.
Hence, the old Labyrinth is now Temps, which I'll work on when I am motivated and have time (no pun intended).
So why have interludes for trumpet and flute in a quasi-double concerto for violin and cello? I'm worried that violin and cello interludes will be too similar to Temps. Flute and trumpet are instruments that aren't in the other piece. I want the interludes to not be musically significant. Instead, they are active silence between movements and a break for the soloists. I may also have a free accompaniment in the piano (music not specifically synchronized with the soloist, more of a accompanimental texture). That may still change, but I'm almost finished with the draft of the first movement, so I'll have to make a decision on the first interlude soon.
Of course, I don't have to compose in order, but it just happens that the other movements are less fully-formed in my mind, and working from the beginning usually helps solidify them. In fact, the idea of the accompanied solo interlude came only as I was writing this article. We'll see what happens ultimately. It all may change as the draft coalesces.
I've also been asked for a quartet or quintet version of the piece for another performance, for which I might change or remove the interludes.
Stay tuned ...
The plan is to make it a mini double concerto, featuring violin and cello, but at this point in time the interludes will feature other instruments, probably trumpet and flute. Why? That's a long explanation, but I'll give you the short version. Last year, when I derived the sets for it, I wrote a short clarinet quartet, Time Knot, which was eventually going to be part of Labyrinth, a 9-movement monster with a solo movement for each instrument. That could easily balloon to a piece larger than my 18-20 minute commission. I've written the opening movement for clarinet, and a little of the second movement, but all that material was based on 6-notes sets (and a row divided into layers).
When I started Labyrinth, I opted for sets of 5 and 7 notes, based on the same row. They classify into functional units better than 6-note sets. Now, there is nothing saying that I have to use the same divisions for all the movements, but I want to use them differently, and I'm not convinced that they will fit together. I also wanted to use larger structures, which won't work in a piece of nine 1-3' movements.
Hence, the old Labyrinth is now Temps, which I'll work on when I am motivated and have time (no pun intended).
So why have interludes for trumpet and flute in a quasi-double concerto for violin and cello? I'm worried that violin and cello interludes will be too similar to Temps. Flute and trumpet are instruments that aren't in the other piece. I want the interludes to not be musically significant. Instead, they are active silence between movements and a break for the soloists. I may also have a free accompaniment in the piano (music not specifically synchronized with the soloist, more of a accompanimental texture). That may still change, but I'm almost finished with the draft of the first movement, so I'll have to make a decision on the first interlude soon.
Of course, I don't have to compose in order, but it just happens that the other movements are less fully-formed in my mind, and working from the beginning usually helps solidify them. In fact, the idea of the accompanied solo interlude came only as I was writing this article. We'll see what happens ultimately. It all may change as the draft coalesces.
I've also been asked for a quartet or quintet version of the piece for another performance, for which I might change or remove the interludes.
Stay tuned ...
Wednesday, May 25, 2016
Symphony No. 2 now available
My procrastination should be complete now. I've just activated my revision of Symphony No. 2 for sale now. It available now on Symphony No 2, and will be on Amazon within a week. There is a short excerpt on my website (stephenferre.com), but I may post the whole thing on Soundcloud at some point. There are some issues in the first movement and the beginning is slightly different, but the rest of the changes are either corrections, notation, or orchestration.
Time to compose now, or garden, or refinish the little table in the dining room ... or the one in the family room ...
Subscribe to:
Posts (Atom)