"Thanks Ray - I was listening to 3:40 and I was wondering what was jarring about it...in fact it is a very specific romantic transition to the dorian mode....which sets the foundation for further minor modulations to go from the Eb root back to G…"
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Fernando Vazquez
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Spiros Makris replied to Fernando Vazquez's discussion Nocturne in G minor"hehe, indeed Ray, he's getting groovy. But hey, why the hell not :) ."
"Good job. It's dreamy, peaceful, eerie. My only criticism is that you keep the audience in this dreamy state for seven or eight minutes, a little long."
Spiros Makris replied to Fernando Vazquez's discussion Nocturne in G minor"Well done Fernando. This is wonderful."
Tyler Hughes replied to Fernando Vazquez's discussion Nocturne in G minor"It is very pretty and very romantic. Very Chopin-esk or Schumann-esk, and perhaps to much like them. I dont know enough of your music to fully understand your style so I have nothing to reference it in comparison to your other works. But none the…"
Fernando Vazquez posted a discussionNocturne in G minor
I am a firm believer all works deserved to be finished. I began writing this song a few years back. It is written in the Romantic style of two theme symmetry; however, the second movement I developed separately, following my daughter's request and created a separate song (Victoria's song). In this case you will hear it interweaved with the first theme during the beginning and at the end of the piece, which I also further expanded in the style of a baroque chorale. I hope you enjoy listening to…See More
Fernando Vazquez commented on Fernando Vazquez's blog post Nocturne in G minor"You read my mind Frederick. I'm already reevaluating some components. I welcome any specific observations."
"Reminds me of Darius Milhaud's comment to a student that a particular attempt by the student wasn't very good. Milhaud advised.. finish it , then tear it up."
Fernando Vazquez posted a blog postNocturne in G minor
I am a firm believer all works deserved to be finished. I began writing this song a few years back. It is written in the Romantic style of two theme symmetry; however I liked the second movement so much that I created a separate song (Victoria's song), which I developed individually. In this case you will hear it interweaved with the first theme during the beginning and at the end of the piece, which I also further expanded in the style of a baroque chorale. I hope you enjoy listening to it.See More
"Hello Fernando,
Thank you for the nice words! I also think that we should stay in touch. I am very pleased ( and impressed) with the quality of your music It would be great to discuss more with you. Music is absolutely fascinating. What…"
"Fernando,
This is really very good! Excellent harmonics ( in impressionistic style), but what keeps the piece coherent is the motif with it´s persisting ryhtm, which you introduce right at the start. In the middle (tranquillo) part,…"
Fernando Vazquez replied to Fernando Vazquez's discussion Ballade in F# Minor"Thank you very much Saul. It is a real pleasure listening to your music as well.
"
Fernando Vazquez replied to Vivaldi's discussion Baroque concerto in style of Vivaldi"Justin
I listen to your composition carefully. And I also read some of the comments here in response to what you posted.
As an artist, always remember one thing.....there has never been a statute build for a critic.....so, what is really of value in…"
Quinn Mason replied to Fernando Vazquez's discussion Ballade in F# Minor"I agree with Janet-This was very lovely and you make good use of the impressionistic scales. I'm guessing you wrote this around this around the whole tone scale...
In short, Debussy would have loved this. You should give it an impressionistic…"
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Nocturne in G minor
Started this discussion. Last reply by Fernando Vazquez Apr 17. 6 Replies 0 Likes
Ballade in F# Minor
Started this discussion. Last reply by Johan Roeraade Feb 20. 7 Replies 0 Likes
Fernando Alvaro Pianist/Composer
Music
Comment Wall (102 comments)
- At 3:35am on February 21, 2013,
Johan Roeraade said…
Hello Fernando,
Thank you for the nice words! I also think that we should stay in touch. I am very pleased ( and impressed) with the quality of your music It would be great to discuss more with you. Music is absolutely fascinating. What interests me very much is not only to succeed with a piece, but to analyse why things work or not.
Regards
Johan
- At 9:55am on February 2, 2013,
Janet Spangenberg said… It's nice to meet you, too, Fernando. I am enjoying your excerpt of the Ballade in F# minor... lovely! The only music I currently have posted on my page are the videos. Thanks for taking an interest.
- At 9:14am on November 14, 2012,
tony hartmann said… found the time to listen to your variations. nice work. to my ear they are indeed variations. thanks for posting,
tony h
- At 6:15pm on October 28, 2012,
Fredrick zinos said…
The Scarlatti variations are brilliant. Keep going. I can't wait to hear what you do with this theme in the style of Debussy.
- 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...
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 Blog
Nocturne in G minor
Posted on March 6, 2013 at 6:46am 2 Comments 1 Like
I am a firm believer all works deserved to be finished. I began writing this song a few years back. It is written in the Romantic style of two theme symmetry; however I liked the second movement so much that I created a separate song (Victoria's song), which I developed individually. In this case you will hear it interweaved with the first theme during the beginning and at the end of the piece, which I also further expanded in the style of a baroque chorale. I hope you enjoy listening to…
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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.
© 2013 Created by Chris Merritt.
