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On Sunday 9th August had my first public performance.


As is often the case sound file is not as good as my memory of the day but very happy.


This piece is the second movement in a suite I am still working on so still happy to get constructive feedback.

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This a very beautiful, well crafted and delicate movement, Michael!

It must be thrilling to hear it performed live. Thanks for sharing.

When I have some time I will look into the score for more study/appreciation.

It's a beautiful piece. I'm so glad it got performed live.

Sincere congratulations, Michael.

Mariza

Congratulations! I belatedly applauded with the audience too. :-)

Just have 3 comments:

1) In mm.27-28, the cello line seems to be a little awkward, melody-wise. It alternates between A and G, whereas based on the fact that it answers mm.25-26, where the melody curve is wider-spanning, I would've expected at least another note other than A and G somewhere in there. Maybe something like A-GAG-.F#G-. (Or maybe with F instead of F#.) I'm not sure. This is highly subjective, and you probably disagree, which is OK, but I've listened to this 3-4 times now, and of the 2 times when I was paying attention to the cello line, this part bothered me.

2) The trumpet line at F (mm.77-80) sounds a little weak; I'm not sure if this is a problem with the recording / microphones, or if it's an actual weakness in the scoring. I found that the strings crossing over the trumpet line somewhat obscures it, esp. with the strings playing f. As a result the theme didn't really come through that well.

3) In m.103-104, the way the 1st violin melody was scored made me expect another reprise of the theme, only to be interrupted by an immediate repetition in the 2nd violins, then echoed by the cellos in what turns out to be a coda. This made me unsure whether it was a reprise or a coda, which somewhat spoiled the ending a little for me. Again, this is rather subjective, but I can't help thinking that if the 1st and 2nd violins dropped off the last 2 or 3 notes from the theme, sorta like what the violas do in m.106, except not quite as short, then it would sound more like an echoing coda, rather than the beginning of a reprise.

These aren't major problems, though. I very much enjoyed the piece as-is, and consider it a really beautifully-done work. Congratz again on your live performance!

Thanks for your comments H.S.

Will have a think about 'cello at 27. I probably didn't want to take too much away from main tune.

103 was meant to be like the opening in reverse so happy.

Trumpet Solo. Simon is actually trumpet II but he is the regular at rehearsals. Number one only at last couple of rehearsals before concert. He did ask me if I wanted the first player but I thought no. He did the intro at 76 fine but then seemed to fade. Played better at rehearsals BTW. also the mike placement favoured the strings so wind and brass hard to hear. Asked friends after concert and there wasn't a problem in the audience.

Sorry I couldn't get back on this until now, been busy at work.

Didn't realize until you mentioned it that m.103 is the opening in reverse. Very clever. It makes a lot more sense now.

The trumpet solo is probably OK, the mike placement is probably the cause of the apparent problem. Judging from what Rodney has said in the past, the trumpet in this register should have no problem penetrating the rest of the orchestra.

I think Rodney would say "laying waste the strings". (haha)

H. S. Teoh said:


The trumpet solo is probably OK, the mike placement is probably the cause of the apparent problem. Judging from what Rodney has said in the past, the trumpet in this register should have no problem penetrating the rest of the orchestra.

lol, indeed.

Loved it too. I like your motivic use a lot - it keeps it all very unified.

Well done Michael

Very impressive, Michael. Has that exact stately English feel of the early 20th century around the time Elgar was composing. Represents your title wonderfully, "She is warm". I could almost feel the heat radiating off her. You show nice restraint in your orchestration as well. I'd like to hear it done by the LA Phil. Failing that, maybe a good VST like Vienna.

Thanks Joe.

I am happy to be a century out of date.

And thanks to everyone who has favourably commented, liked or viewed.



J Joe Townley said:

Very impressive, Michael. Has that exact stately English feel of the early 20th century around the time Elgar was composing.

Hooray for being a century "out of date".  I've always felt I would rather have been born a hundred years earlier...

Yep. Then we would have been able to tell Rachmaninoff face-to-face how much we admire his music and pianism. Add time travel and we could let him know the god he would become 50 years after his death.
 
H. S. Teoh said:

Hooray for being a century "out of date".  I've always felt I would rather have been born a hundred years earlier...

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