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Fernando Vazquez
- Male
- Key Biscayne, FL
- United States
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Fernando Vazquez's Groups
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Harmony and the Rudime...
42 members
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Classical Music Composers
136 members
A painter paints pictures on canvas. But composers paint their pictures on silence....
Music
Scarlatti Variations in the style of....?
As some of you may know, I have been working off and on (more off...) on the development of what I like to call "trancedental variations" utilizing a theme by Scarlatti as pilot. Brahms used to regard variations and the best known school for true composition...however, for long variations have been used to diversify a particular "theme" through a series of innovative, clever and inspired modifications. Yet always having to gravitate to the original structure for the purposes of sustaining the piece's identity.
The work that I am seeking is more a of a metamorphosis rather than a variation. I am looking at utilizing, not just a particular theme, but also the "school" ...and projecting and evolving it through the time continuum via the foundations of higher-order composers, of which I don't intend to "imitate"by using famous themes or "riffs", but rather extract the spirit of their technique, which was one important tool behind their spiritual message. A delicate balance to say the least.
The work I am seeking to do in this very humble scale, is to my opinion, a way of exploring the evolvement of music through the highest order possible....
The Theme "Tema" is extracted from a Sonata in D minor by Domenico Scarlatti. I have no idea why I picked this piece. I think because, to my opinion, it reflects in great detail the Scarlatti school, transparent, detailed, harmonically complex and highly poetic. I could have chosen Bach as a logical start. But I think that Mozart, a logical musical successor, would've disapproved. The 1st Variation- "Mozartina" is classically ironic and follows a more conventional variation style of the times...then it takes off in own musical play...
The 2nd Variation- "Beethoveniana" (still in the works) is determined, dramatic and follows a galloping poetic tone of pathos and musical steadfastness.
I still have a very long way to go, as I intend to traverse the ouvre through other more progressive schools like late romantic and impressionism. I don't expect to finish this tomorrow to say the least....but this is my start....
Thank you for listening.....
The work that I am seeking is more a of a metamorphosis rather than a variation. I am looking at utilizing, not just a particular theme, but also the "school" ...and projecting and evolving it through the time continuum via the foundations of higher-order composers, of which I don't intend to "imitate"by using famous themes or "riffs", but rather extract the spirit of their technique, which was one important tool behind their spiritual message. A delicate balance to say the least.
The work I am seeking to do in this very humble scale, is to my opinion, a way of exploring the evolvement of music through the highest order possible....
The Theme "Tema" is extracted from a Sonata in D minor by Domenico Scarlatti. I have no idea why I picked this piece. I think because, to my opinion, it reflects in great detail the Scarlatti school, transparent, detailed, harmonically complex and highly poetic. I could have chosen Bach as a logical start. But I think that Mozart, a logical musical successor, would've disapproved. The 1st Variation- "Mozartina" is classically ironic and follows a more conventional variation style of the times...then it takes off in own musical play...
The 2nd Variation- "Beethoveniana" (still in the works) is determined, dramatic and follows a galloping poetic tone of pathos and musical steadfastness.
I still have a very long way to go, as I intend to traverse the ouvre through other more progressive schools like late romantic and impressionism. I don't expect to finish this tomorrow to say the least....but this is my start....
Thank you for listening.....
Fernando Vazquez's Photos
Profile Information
- What have you composed for? Or what medium do you work around?
- Other
- What is your favorite genre or style of music?
- Classical, Jazz, Contemporary
- Is music your main income source?
- No - Not at all.
- Where do you live?
- Key Biscayne, FL
- About Me:
- Was introduced to the piano at the age of three. I studied with Bruno Gelber's parents and made my first public appearance in Argentina at the age of five and when I was was six I began studies of Solfege and Theory. I wrote my first composition at the age of seven. My technique was developed from the school of Vincenzo Scaramuzza, who also trained Bruno Gelber, and Martha Argerich.
For the remainder of my young years I continued to study under other teachers, but for the most part always self taught.
Graduated with an Engineering degree, from Florida Institute of Technology. And engaged in a full time Engineering career.
Then I went to Conservatory at Longy School of Music in Cambridge Massachusetts, but for the most part, remained disappointed by the bland teaching methods of uninspiring teachers. So I continued to learn from the masters and teaching myself music theory, harmony, counterpoint and composition.
I don't believe composition requires years and years of academia. The real learning of the art form is passed from generation to generation of masters. All the learning that needs to be done is written in the pages of meticulous strokes of the people that have given their lives to the art form.
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It is an honor.
Good work. How long will it be? And when will you finish it/
Have a wonderful day.:)
I have listened more than once to your beautiful prelude (the excerpt that is posted). Is the complete draft posted somewhere else on this site? I would like to hear it played to it's conclusion....or are you still evolving the final direction? It starts out with a dreamlike quality that is quiet, yet emotionally intense. As you shift chromatically, it has a strong sense of wanting to build....toward something climactic, I think. Unfortunately, the excerpt I've listened to stops before reaching a climax.....there's a sense, for me, of being left hanging. I was reading on here somewhere about 'plagel' cadences, which I took to mean deceptively leading the ear toward a cadence that then leads the ear further, rather than to the expected resolution. The chromatic development you've started might lend itself to several 'plagel climaxes,' before finally building to a really intense sense of resolution. I'm eager to hear this beautiful piece played to its final note. And I'll echo your own words back to you....keep it simple and beautiful. I think this piece, especially in its opening theme, has a beautiful, crytaline, and liquid simplicity. Even as it builds, I would like to hear the transparent quality continued. I think the picture of water you posted is very apropos....and as the water moves, it should become more active without muddying.....does that make sense? Fernando, I admire your musicianship, your technique, and the emotional intensity of your music. Your music never sounds like a 'trifle.' It has intellectual and emotional depth. Your music leads me to believe that you are a deeply thoughtful and intense man.
When you have time, I would like to know about how you mike and record your piano. Your recordings sound pro. Your piano has a beautiful voice, both sweet and strong....I'm curious, what kind of piano is it? I love the voice of my ancient (from the 1920's) grand, but it's quirky...that's what I'm playing on Ants At the Picnic, Spanish Ladies and Dancing Bear. But many people liken it to a 'saloon' sound. Waiting for Spring is recorded on a Roland Fantom 8 Keyboard. It's a more perfect sound, but to me, is less 'soulful.'
Thanks again for generously sharing your knowledge, advice and music. I hope to learn more from you....Martha
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