The Four Seasons: A Response

[Tyler Hughes]

So, I finally made a mock up of a piece I have been working on for the last few months. I wrote this after hearing a concert featuring Vivaldi's The Four Seasons. This is somewhat of a modern interpretation of the original peice. The main feature you should hear is that all the themes and over all feel comes from movements of each season. The biggest difference that you will see, however, is the instrumentation, which is for Trumpet, Cello, and Harpsichord. 

Tell me what you think. 

[Charles Greco]

Tyler, I can only respond by personal impressions, not critical or collegiate analysis. I found the work to be quite interesting in a pleasant way. Surprising to me how well the instrumentation agreed and came together. But was not too impressed by Spring (seemed to be a bit of a spoof to me). Summer was rather intriguing with its touches of mideastern flavor here and there. I think I enjoyed Fall most of all--it was very descriptive of the actual season. And Winter seemed a bit animated, but perhaps that particular winter had unusually active weather.

All in all, to me, a rather interesting and pleasing work.

[Clark Nichols]

this is probably the most clever thing I've ever listened to. (Although I'll say they're all dark, emotional interpretation differs from person to person)

 

You nailed it, especially spring and winter.

[Vincent Avila]

Please take a look at our rules and suggestions on getting responses and critics on your music in this forum. Follow these guidelines and Im sure you will attract a lot more people. 

Rules and suggestions for Music Dissection 

[Tyler Hughes]

Dont know how quoting a comment I gave to you is relevant to this conversation.

Vincent Avila said:

Please take a look at our rules and suggestions on getting responses and critics on your music in this forum. Follow these guidelines and Im sure you will attract a lot more people. 

Rules and suggestions for Music Dissection 

[Tyler Hughes]

how so

Saul Dzorelashvili said:

amusing...

[Greg Brus]

I'd say 9 responses in 4 days is quite an animated reaction, at least considering how lively (not) these forums are.

[Russell Sansom]

sounds reminiscent of Bernstein

[Clark Nichols]

You sir, think backwards. Simply because you don't like atonality doesn't mean other people don't. Give "Helix for Orchestra" a listen (it's by Essa Pekka Salonen) or "On the Transmigration of Souls" , maybe then you can appreciate what Tyler is doing here. A response doesn't have to be in the same style, it's simply what you thought of when you heard the piece that you are responding to.

Ray Stirling said:

Tyler,

 

I thought my gentle tirade  (now there's a contradiction :)) would drum up a bit more support for you than this. Hmm! 

'wonder why?

[Tyler Hughes]

lol well I guess when one quotes a very tonal baroque piece in an atonal harmonic language I guess it could come off a little comical. 

Saul Dzorelashvili said:

In a number of ways, it was fun, comical, amusing, and pretty cool...

Tyler Hughes said:

how so

Saul Dzorelashvili said:

amusing...

[Tyler Hughes]

thanks for your response. Oddly enough, Fall was my least favorite of the four. I thought it was the weakest of the movement so I was surprised that you would prefer that one. Glad you like the piece, hopefully I will get it recorded soon.

Charles Greco said:

Tyler, I can only respond by personal impressions, not critical or collegiate analysis. I found the work to be quite interesting in a pleasant way. Surprising to me how well the instrumentation agreed and came together. But was not too impressed by Spring (seemed to be a bit of a spoof to me). Summer was rather intriguing with its touches of mideastern flavor here and there. I think I enjoyed Fall most of all--it was very descriptive of the actual season. And Winter seemed a bit animated, but perhaps that particular winter had unusually active weather.

All in all, to me, a rather interesting and pleasing work.

[Adrian Allan]

Nice interplay between the instruments; they all have an equal share of the proceedings. I could hear all of the themes come through - apart from Winter, which has always been my favourite movement. I couldn't hear the theme or the musical quotes - whatever you call them - or maybe they are more hidden.

I didn't comment on this music to begin with owing to the controversy of some of the opening comments - I needed time to think about what I had to say, constructively. You say that the interpretation is modern, and it is, on the basis of the modernist/ discordant school of composition.

However, now being in the 21st century, I'm just wondering if this style has sort of had its day. To me, true modernism (or a contemporary sound for this new century) would comprise eclecticism in instrumentation and harmony, maybe drawing on influences in pop, folk or world music - or a synthesis of styles and approaches. I just hope that your own voice in composition will move a bit away from the dischords, melodic fragments and sudden accents, which defined a lot of music in the last 70 years or so. But I can't dictate how you will find your own voice and style - that's your call, and it would be patronising to suggest otherwise.