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Greetings,

one source of inspiration for me is C Debussy. I sympathize with his approach to music as purely emotional and his refuse to follow any rules and structures. 

This piece is rather long but second half is a variation of the first half so comments on first half is also appreciated.

Maybe the intro is to rough. The purpose of this lively part is to form a brutal contrast to what follows, the calm and harmonic section. It would be interesting to hear what you think of this particular idea.

I chose a German title since I think this expression sings by itself and I had la Mer in mind when composing.

https://soundcloud.com/user-892939153/das-wunderschone-baum-spiegel...

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I'm not sure that I hear the Debussy influences. Your harmonies are more explicit and traditional than his.

Ok, what I like is the bit between 1:00 and 2:00. It's not Debussy, but it's lovely anyway.

The first minute. Hm. You're emphasizing the beat too much. Was there a specific piece that you used as a model here?

Have to agree with Victor - cannot hear much Debussy influence in this and the harmonies are more classical, especially your use of diminished chords which Debussy uses very sparingly if I remember.

It's a nice piece but the rendering is a bit heavy handed. There are moments of delicacy but the piano always seems at mf or louder most of the time. Also agree with Victor about the opening but to me as a bit pesante/lumbering although this may have been the effect you want to please disregard if so.

.

Thank you guys for listening and your comments. But don't misunderstand, I didn't say I want to mimic CD, just a source of inspiration wrt. emotions and disregarding rules and structure.

Actually, the introduction, yes, it is like "o freunde, nicht diese Töhne...", ...

Unlikely Victor and Dane, I can hear some Debussy. I mean, not so much in terms of syntax but in terms of restless atmosphere and letting the piano to sound like water drops.

I agree, harmonies are far less tough than the Debussy's ones and that is an upside to me.

This piece is actually beautiful, Kjell.

Thank you for having posted it.

Thank you very much, Gabriele. I guess one has to come through the 1 minute introduction to appreciate it fully. The idea was to create a contrast between the harsh and soft.

Kjell

Gabriele said:

Unlikely Victor and Dane, I can hear some Debussy. I mean, not so much in terms of syntax but in terms of restless atmosphere and letting the piano to sound like water drops.

I agree, harmonies are far less tough than the Debussy's ones and that is an upside to me.

This piece is actually beautiful, Kjell.

Thank you for having posted it.

Hi Kjell, this piece has many beautiful parts and certainly is enjoyable overall. I'm not sure I would have thought of Debussy if you hadn't mentioned it but that's probably not important. I did like this, I suppose some tempo variation might have been appealing for me. The only thing I wasn't so happy with was that a lot of the string writing is sustained mid range tones that don't seem to enhance the featured melodies. When these parts pause and let the melodies shine through it is very nice because you have some beautiful melodies and some counterpoint as well. Nice work overall!

Hi Ingo,

thank you for your kind and constructive comment. I will listen to the piece with a focus on your suggestion concerning the strings. Hopefully I will be able to improve.

Gratefully,

Kjell

Ingo Lee said:

Hi Kjell, this piece has many beautiful parts and certainly is enjoyable overall. I'm not sure I would have thought of Debussy if you hadn't mentioned it but that's probably not important. I did like this, I suppose some tempo variation might have been appealing for me. The only thing I wasn't so happy with was that a lot of the string writing is sustained mid range tones that don't seem to enhance the featured melodies. When these parts pause and let the melodies shine through it is very nice because you have some beautiful melodies and some counterpoint as well. Nice work overall!

Hi Kjell,

Wonderful work.  A lot of hard work, I can imagine.

The strongest point is the use of timbre.  Repetition, contrast, even recap comes in the instrument colours,

hence the timbrel domain.  I have one abstention to that, the textual thickness is too much and too long.

There is little contrast in the textual domain.

To give life to a music work to let it thrive, it shall have contrast, repetition and recap (even an AB form uses material from A in the second half of B), it shall have these not only in a single domain but also rhythmically, tempo change wise, form wise, harmony wise (for 8 minutes you could have gone to more distant tonalities), melodic wise (lyric, arpeggio, long jumps), etc.  Beethoven Sonatas are a precious treasure for these. (These domains may be parallel or phase shifted also).

All in all you made me think deeply on what I should do and

may be the dark shadow of the trees on the lake was meant for the thick texture, who knows.

Well done, thank you for your heavy contribution.

Ali

Thank you Ali for your wise comment. I just let the emotions flow here, Debussy inspired. 

All the best,'

Kjell

Ali Riza SARAL said:

Hi Kjell,

Wonderful work.  A lot of hard work, I can imagine.

The strongest point is the use of timbre.  Repetition, contrast, even recap comes in the instrument colours,

hence the timbrel domain.  I have one abstention to that, the textual thickness is too much and too long.

There is little contrast in the textual domain.

To give life to a music work to let it thrive, it shall have contrast, repetition and recap (even an AB form uses material from A in the second half of B), it shall have these not only in a single domain but also rhythmically, tempo change wise, form wise, harmony wise (for 8 minutes you could have gone to more distant tonalities), melodic wise (lyric, arpeggio, long jumps), etc.  Beethoven Sonatas are a precious treasure for these. (These domains may be parallel or phase shifted also).

All in all you made me think deeply on what I should do and

may be the dark shadow of the trees on the lake was meant for the thick texture, who knows.

Well done, thank you for your heavy contribution.

Ali

Debussy himself didn't create the impressionist movement within music rather composers who came before him have already set up the groundwork for the genre and style to emerge. Felix Mendelssohn is one of them with his tone poem style of writing especially found in his program music Fingal's Cave and Overture to a Midsummer nights dream. There were others as well, Liszt was one of them and also to some degree Schumann as well. There is nothing wrong with saying that it is Debussy inspired because Debussy's style itself is strongly rooted in the classical romantic styles before it branched out to impressionism. 

Personally I think that there is some Debussy inspired in Kjell work, please listen to La Mer for reference.

Saul

 This is a fine piece of work Kjell!  I have some passing interest in composers and don't really know much about Debussy. 

Coming from that perspective I really could care less it this sounds like Debussy or not.Most importantly it's about what we are doing NOW. If you relate to an emotionally driven composition model more power to you. I can relate to that idea well! 

When Debussy was alive I doubt he ever modeled anything he did expressly after someone else. Notice I said "expressly" so as not to ruffle any feathers. We are all individuals and I think you have a real knack to create beautiful music no matter how you do it. Thanks for sharing! Another master piece!

Thank you so much Tim. I agree fully, I never meant to start a discussion about Debussy here, I just wanted to give a short but really not essential background. I got many replies which I am happy for, but I wish there had been just a little bit more focus on this particular composition. But any feedback is appreciated and this is such a lovely forum with active members posting lovely music and being actively listen to others as well, such as yourself.

All the best,

Kjell

Timothy Smith said:

 This is a fine piece of work Kjell!  I have some passing interest in composers and don't really know much about Debussy. 

Coming from that perspective I really could care less it this sounds like Debussy or not.Most importantly it's about what we are doing NOW. If you relate to an emotionally driven composition model more power to you. I can relate to that idea well! 

When Debussy was alive I doubt he ever modeled anything he did expressly after someone else. Notice I said "expressly" so as not to ruffle any feathers. We are all individuals and I think you have a real knack to create beautiful music no matter how you do it. Thanks for sharing! Another master piece!

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