New piece for Wind Orchestra :- It's a mirage, Igor

[David Stowell]

Just completed a new composition for Wind Orchestra - It's a mirage, Igor

 

(Instrumentation: 1 Picc, 2 Fl, 2 Ob. 1 CA, 1 Cl (Eb), 2 Cl (Bb), 1 Bass Clarinet, 2 Bassoon, 1 Contrabassoon, 4 Horn, 3 Trumpet, 3 Trombone, 1 Tuba, Timpani, Percussion)

   

MP3 created using Sibelius (and the Sibelius Essentials samples)

[Ondib Olmnilnlolm]

I think this is absolutely superb.   Right from the beginning I am impressed.  The opening is very beautiful.  It's one of those openings that you remember.  It lingers in the mind.   (I have only listened to the piece four or five times, and it comes to me at certain times of the day --- you know how a truly good piece of music penetrates the subconscious and resurfaces now and again).   The opening works so well, because the material is orchestrated in such a way as to create what one feels is a single instrument.     Everything blends together without any smearing of sound textures.  

The sparse orchestration during minutes 2- 3 provides an excellent breathing space to lead up the more energetic passage which follows.  

Looking at the whole, we can say the form is perfectly suited to the content and the content to the form.   A wind orchestra is exactly what is suited to play the material.    Nice textures at around 4:48.  I am not sure how they are produced.  I find the work in its entirety achieves a pleasing balance between the more serious emotions (which are never too weighty in this piece) and a sort of "sane whimsy"-- the best phrase I can think of to describe the humorous passages. 

The pacing is always varied in a proportioned way:   sufficient slow time for contemplative moods, which are politely shunted aside for allegro and allegretto excursions.    Sparing use of percussion, (such as the xylophone), varied rhythms, and good distance between the lines keep the piece always interesting, while it remains uncluttered.   (Exemplified very well in time index from minute 9 to minute 10).    In minute 11, the scales and fluttering by the flute and trumpet are very well done.

As good as the opening statement of the theme is, the theme in that form is only alluded to, and recapitulated in a subtle way.    The work exercises restraint.

There is much more that could be said in favor of this piece.   It has its own unique flavor, and while we could compare it to the work of other extremely famous composers (favorably), there is no need to.

I like the dissonances, from about 12:30 to 13:00.  The decelerando leading to the solo clarinet is a nice touch, in the last minute, along with the sparing use of trombone glissandi, that is well done.

I think I had some minor suggestions, but I forgot them.  If I remember, I'll let you know.  

Just listened to the end, again.

That very quiet and calm passage, starting with a solo flute, from about 11:15 to around 11:38, is strikingly serene, and provides a perfect preface for the dissonant passage that follows.

For those who have only heard the piece once, I say, listen to it again, several times.

The orchestration, rhythmic variation, and alteration of textures are such that repeated listenings are necessary for a full appreciation.

[Johan Roeraade]

 A really strong piece of work! It never gets dull and it´s coherent. My congratulations.

Johan

[Tim Marko]

An outstanding work.  I hope you are considering writing more for winds.

 

Any possibilities for a live performance?  At the very least, I second Chad's suggestion about entering this piece in competitions.

 

Tim