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This is a piece written for chamber orchestra that I would like to get some feedback and criticism on.  It is a short piece in what is roughly an impressionistic style.  All comments are welcome, thank you for listening!

Score is at concert pitch

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Ahh, delightful. I enjoyed every moment of this unique and innovative music in a classical style for a classical orchestra. This technique of letting just one or two voices play at at time and still utilizing the full orchestra to build up a wholeness of complexity is truly appealing and make it interesting to listen to all through.

And thank you so much for the scores. There are many articulations that I would like to try myself.

Thank you, Ingo.

Kjell

Hi, Ingo,

Most interesting.

From the opening being for celeste; the antiphonal effects both within the wind and between wind and strings. I enjoyed the way you 'touch in' colours otherwise vary them greatly. Another thing is the way you give a quiet background to some of the wind figures on the strings (bars 43-49 for instance). Also using the piccolo in its lower register playing on its lyricism. (Not sure you need the amount of wind players you ask for on Page 1. I could only see one piccolo part but the rest divide in 2 at points (bars 33 for a few.)

A most happy summer piece with interesting and continually shifting harmonies. I didn't look for salient themes so I never questioned if it was through composed - seemed like it but everything fits together. Superb rendering. I doubt it would sound better played live by an experienced group.

A nice listen (well, several so that I could follow the score on my small screen)!

Cheers, Dane

Thank you Kjell for the kind words.  I hope the articulations are helpful to you.

Kjell Prytz said:

Ahh, delightful. I enjoyed every moment of this unique and innovative music in a classical style for a classical orchestra. This technique of letting just one or two voices play at at time and still utilizing the full orchestra to build up a wholeness of complexity is truly appealing and make it interesting to listen to all through.

And thank you so much for the scores. There are many articulations that I would like to try myself.

Thank you, Ingo.

Kjell

 This is really an interesting piece. The mix is well done. Musically I can tell it's tied to a tonal center but can't seem to place a direction or a start to finish feeling about it. It seems to wander through the landscape in a rather aimless kind of way .I like the instrument selections and the energetic feel it has.

Thank you Dane for listening and commenting, you have made some good points here and I have learned from that. Your point about antiphonal effects (Ok I had to look that up) reminds me that I need to work on integrated orchestration as well as the conversational interchanges. In the past I have ended up with large globs of ill defined noise instead of powerful tuttis but I know that there is a better way. Early Mahler perhaps?

This is NotePerformer and the lack of fussing is a great appeal to someone with little extra time. I didn't pay much attention to the numbers of instruments I was getting. I knew I wanted piccolos and flutes but I thought I had no choice as to the number of each that I got (multiples in each case) but since you mentioned it I've found that I do have more choices there.  Having extra piccolo players sitting around with no parts to play might not help me get gigs I suppose.

As far as 'through composing' I tend to vary my approach, often haphazardly, so if I don't start with themes in mind sometimes I get nervous and go back and insert some for safety sake. Good to be flexible right? Ah, but then there's that development thing.

Thanks again!


Dane Aubrun said:

Hi, Ingo,

Most interesting.

From the opening being for celeste; the antiphonal effects both within the wind and between wind and strings. I enjoyed the way you 'touch in' colours otherwise vary them greatly. Another thing is the way you give a quiet background to some of the wind figures on the strings (bars 43-49 for instance). Also using the piccolo in its lower register playing on its lyricism. (Not sure you need the amount of wind players you ask for on Page 1. I could only see one piccolo part but the rest divide in 2 at points (bars 33 for a few.)

A most happy summer piece with interesting and continually shifting harmonies. I didn't look for salient themes so I never questioned if it was through composed - seemed like it but everything fits together. Superb rendering. I doubt it would sound better played live by an experienced group.

A nice listen (well, several so that I could follow the score on my small screen)!

Cheers, Dane

Hi Ingo,

Wonderful work! Truly enjoyable.

Your use of the orchestra reminded me Klangfarben.  Sorry I cannot go deeper at this moment.

But your approach although not dissonant and even tonal looks as if post-modern...

Using the contributions of the 20th cty music but not so dissonant and expressively atonal.

To write an atonal piece you do not have to use dissonance all the way.

Your approach of using klangfarben is somewhat similar, one can write

klangfarben in totally tonal writing,  I guess.

It would be interesting to analyse your work deeper, sometime later maybe.

Well done. I liked it a lot.  

Ali

I haven't heard all your music obviously but I haven't heard any large globs of ill-defined noise. You're right, though, that's the province of Mahler. (My dentist plays music in his surgery and I once suggested he used Mahler to drown out the cries of pain!!)

Your style is as it is and there'll come times when you need a tutti. The antiphony in this work is rather an effect I happened to notice (probably because I apply it - perhaps too often) rather than absolute section by section antiphony. The way it blends in this piece worked very well.

No matter, I look forward to more of your work.

Ingo Lee said:

Thank you Dane for listening and commenting, you have made some good points here and I have learned from that. Your point about antiphonal effects (Ok I had to look that up) reminds me that I need to work on integrated orchestration as well as the conversational interchanges. In the past I have ended up with large globs of ill defined noise instead of powerful tuttis but I know that there is a better way. Early Mahler perhaps?

This is NotePerformer and the lack of fussing is a great appeal to someone with little extra time. I didn't pay much attention to the numbers of instruments I was getting. I knew I wanted piccolos and flutes but I thought I had no choice as to the number of each that I got (multiples in each case) but since you mentioned it I've found that I do have more choices there.  Having extra piccolo players sitting around with no parts to play might not help me get gigs I suppose.

As far as 'through composing' I tend to vary my approach, often haphazardly, so if I don't start with themes in mind sometimes I get nervous and go back and insert some for safety sake. Good to be flexible right? Ah, but then there's that development thing.

Thanks again!

It is scored for an entire Orchestra yet there is very little going on as one finishes a phrase the other takes over. Did you think about thickening the work a little to give it some grandeur and depth?

Regards

Thank you Ali for listening and mentioning Klangfarbenmelodie (German for sound-color melody). I was unaware that Schoenberg had detailed the use of this technique and demonstrated it in his work.  I listened to Five Pieces for Orchestra Op 16 and I see that there is a similarity. Schoenberg's work, besides being much more sophisticated and developed, very smoothly blends the transitions between the instruments which allows the melody to continue seamlessly. This is appealing and useful, something I can try and make use of. 

Thanks again!

Ali Riza SARAL said:

Hi Ingo,

Wonderful work! Truly enjoyable.

Your use of the orchestra reminded me Klangfarben.  Sorry I cannot go deeper at this moment.

But your approach although not dissonant and even tonal looks as if post-modern...

Using the contributions of the 20th cty music but not so dissonant and expressively atonal.

To write an atonal piece you do not have to use dissonance all the way.

Your approach of using klangfarben is somewhat similar, one can write

klangfarben in totally tonal writing,  I guess.

It would be interesting to analyse your work deeper, sometime later maybe.

Well done. I liked it a lot.  

Ali

I'm not a good critic (sorry), but I find it very original. What are your influences on this work, in your opinion ?

Ah well that's why skeletons stay in the closet right? 

A friend took me to a Mahler concert years ago, I forget which piece, but half way through I looked around and half of the audience was asleep, including my two companions. This was Georgetown, an ambitious suburb of DC, so when I commented on the number of sleepers my friend said: "Everyone here is sleep deprived, that's why Mahler is so popular!" We all just need to find our niche.

Dane Aubrun said:

I haven't heard all your music obviously but I haven't heard any large globs of ill-defined noise.

Hi Saul, thanks for commenting. That's a very good point. You're right, there is lots of wide open space in that score, I could condense that down for much of the work.  And I could add harmonies and doubling to get more depth but I like the light texture so that was the choice I made. I hope to have more pieces or movements added to this so maybe then I'll have some bigger sounds.

Saul Gefen said:

It is scored for an entire Orchestra yet there is very little going on as one finishes a phrase the other takes over. Did you think about thickening the work a little to give it some grandeur and depth?

Regards

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