"The Ballade in F# minor is very compelling. I would love to hear more.
"
Music Composers Unite!
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Fernando Vazquez
- Male
- Key Biscayne, FL
- United States
Latest Activity
Charles Greco left a comment for Fernando Vazquez"I just came across and listened to your excerpt of Ballade in F# minor which I enjoyed immensely. I cannot find the words to express how wondrous and exceptional the piece is. For me, I seemed to detect a touch of French influence..."
Michael J Lawrence left a comment for Fernando Vazquez"Fernando,
Just listened to your momento musical in E flat. Es pocisimo mas de momento, no? (heh)
As you know, I'm not a great fan of chromaticism. In general, I find chromatic works to be undisciplined and somewhat…"
Doug Lauber left a comment for Fernando Vazquez"I sent you a private message. Yes- your Ballade is wonderful!"
Minseo Park left a comment for Fernando Vazquez"First of all, I apologize for late reply. I really appreciate your comments on my music. I have listened to your music, and your music is beautiful and delicately composed. “Fuga in Re Minore” is my favorite and is…"
Allen Constantine left a comment for Fernando Vazquez"i think it is a beautiful piece, i like the contrasts, i like the melodic lines that you created... but i wouldn't consider it a ballade..."
MARIUS DRAGOMIR left a comment for Fernando Vazquez"I enjoy your Ballade, is full of colours, like a autumn picture, sensitive and dreamy....very interesting armony..Congratulation and have full inspiration!"
Adrian Allan left a comment for Fernando Vazquez"thanks so much - I have long admired your music so your opinion really counts. adrian"
Martha Maria / Dogwood Daughter left a comment for Fernando Vazquez"The Ballade is beautiful, as is nearly all of your work....however, I would rethink the title....doesn't strike me as a ballade...many people, I believe, think of a ballade as a singable, or at least hummable melody."
"F# Minor is just completely wonderful. Thank you for posting. It has real shape and style. I love the fact that your harmonic language reminds me of Debussy or early Ravel and yet you manage to make it 100% your own. There is nothing immitative…"
"Hello Fernando
You may be amused, or annoyed, by "Three easy pieces for piano" the first of which is "Things Aren't Always What They Seem." posted on my homepage on this site and also on the Dissection portion…"
MARIUS DRAGOMIR left a comment for Fernando Vazquez"very nice..I like your music. it`s a gift from God witch it`s not learn on schools, sometimes the schools and the scolars give us a wrong path and destroy piece by piece what is inside of a musician, the true light of the music, the sounds of…"
Fernando Vazquez's Groups
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 (MUST be more than 10 words to be approved):
- 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.
Comment Wall (105 comments)
- At 1:38pm on April 15, 2012,
Carla J. Patterson said… The Ballade in F# minor is very compelling. I would love to hear more.
- At 9:56pm on February 28, 2012,
Charles Greco said… I just came across and listened to your excerpt of Ballade in F# minor which I enjoyed immensely. I cannot find the words to express how wondrous and exceptional the piece is. For me, I seemed to detect a touch of French influence...
- At 5:06am on November 28, 2011,
Michael J Lawrence said… Fernando,
Just listened to your momento musical in E flat. Es pocisimo mas de momento, no? (heh)
As you know, I'm not a great fan of chromaticism. In general, I find chromatic works to be undisciplined and somewhat indulgent. This is how I hear them as a listener. As a composer, I have no clue how they work.
But when I listen to this, as with most of your works, there is a very delicate and deliberate structure. It does not strive to explore the frontiers of chromaticism, but rather states itself with conviction. I should pause. My definition of chromaticism is aesthetic: anything that uses chord structures I can't recognize.
Anyway, my point is that, there are no pretentious substitutions - the notes are tools of passion. And this is what I like most about your music. It's always very sincere. When things start getting a little "wierd" (according to my unsophisticated pallete), it always seems that there is no other way to say the same thing at that exact moment. With so many works, I often complain that a more tonal approach would work just fine (or better), but that's not the case hear. When you get loose with the tonality, it makes total sense. This is a wonderful excursion beyond the boundaries of classical tonality and is quite compelling. And then you reel it in to maintain some tonal grounding and gear up for the next outcry.
I will say, honestly, that I have trouble thinking of any classical piano concerto that has the same passion as your work. I guess we could cite roots in romanticism or some such, but it's more than that. This stuff is truly unique. It's authentic.
I'm sorry I can't give you a solid critique as a composer. The truth is, your are well beyond my ability to analyze here. So, all I can tell you is what I hear as a listener.
-MJL
- At 11:35am on September 17, 2011,
Doug Lauber said… - I sent you a private message. Yes- your Ballade is wonderful!
- At 6:50pm on September 9, 2011,
Minseo Park said… First of all, I apologize for late reply. I really appreciate your comments on my music. I have listened to your music, and your music is beautiful and delicately composed. “Fuga in Re Minore” is my favorite and is truly a jewel. I also have science/engineering background! Cheers!
- At 6:24am on September 8, 2011,
Allen Constantine said… - i think it is a beautiful piece, i like the contrasts, i like the melodic lines that you created... but i wouldn't consider it a ballade...
- At 2:37pm on September 3, 2011,
MARIUS DRAGOMIR said… - I enjoy your Ballade, is full of colours, like a autumn picture, sensitive and dreamy....very interesting armony..Congratulation and have full inspiration!
- At 3:40am on September 2, 2011,
Adrian Allan said… - thanks so much - I have long admired your music so your opinion really counts. adrian
- At 11:10am on September 1, 2011,
Martha Maria / Dogwood Daughter said… - The Ballade is beautiful, as is nearly all of your work....however, I would rethink the title....doesn't strike me as a ballade...many people, I believe, think of a ballade as a singable, or at least hummable melody.
- At 11:01am on September 1, 2011,
Fredrick zinos said…
- F# Minor is just completely wonderful. Thank you for posting. It has real shape and style. I love the fact that your harmonic language reminds me of Debussy or early Ravel and yet you manage to make it 100% your own. There is nothing immitative here, but rather your references are touchstones that make the wonders of your music more accessable. Brilliant work!
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