I wrote this piece as a reflection on my thoughts on the war in Ukraine.  I'm not one to telegraph my emotions through music and/or offer a booklet of program notes.  With that in mind, here's a simple description of the piece from my site:  After It’s Over for Violin, Cello, and Piano depicts how innocence can be upended. With a recurring, uplifting theme, constructed with a pattern of 12/8, 6/8, and 9/8 bars, the music moves along with a seemingly joyful exuberance, until the piano interjects with its threatening and ominous presence. The valiant struggle to drown out the sound of violence continues, leaving us to wonder what will be, “After It’s Over.”

After It's Over by David Carovillano - PLAY ON YOUTUBE



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  • Lovely. One can often hear early 1900s French traits, especially in the piano harmonization.
    I wasn't 100% sure in the very beginning, but it developed wonderfully.

    A very beautiful trio, thank you for sharing.

    • Thank you for listening and commenting, Valerio.


  • you say that you're not one to telegraph your emotions through music which is the exact opposite of me -- for me that is the primary function of music and the success or failure is largely (though not entirely as that really would be too simple) dependent on the ability to achieve this. Without any sort of programme, I'd have looked at this as a neatly written neoclassical work with a constantly varying interplay between the instruments, though with the piano having more of a "disruptor" role. But the war reference made me think, is the opening really so innocent or really joyful and does the piano entry really dramatically change the overall mood? For me the piano only really starts to sound more sinister from around 2'39" and becomes more so over the next half minute or so. Does the work have enough contrast -- for instance between major/minor/modal/chromatic harmony --- for the stated programme? This is not a musical criticism -- you haven't asked for that anyway -- but rather an open question about exactly what feelings you are trying to express here and to what extent the emotions vary and develop. After listening three times, I'm still a little unsure. One thing is sure, however, it's a fine piece of craftsmanship.

    • Hi David,

      Thank you for sharing your perspective.  The reason I stated I'm not one to telegraph my emotions through music, is precisely because I'm aware that people's expectations for a piece which was loosely connected to my thoughts on the war in Ukraine, would require a more markedly dramatic and obvious treatment.  While war and geopolitics are insanely nuanced/complex, people expect art to present a readily digestible commentary on the subject which was its inspiration.  Over the years, I've discovered that no matter the depth of sadness/frustration/anger, or any other visceral and/or raw emotion I may feel, my music always radiates hope and optimism.  As such, I suppose I gauge my own success on how the music I write allows me to cope with the challenges/thoughts I may be experiencing.  If I feel that what I wrote provides me a sense of satisfaction (both in terms of the musical content, and the therapeutic effect writing it has had on me), then I really don't worry about the music needing to say something specific to others.  Let each who listens arrive at their own understanding and find their own meaning.



      p.s.  "This is not a musical criticism -- you haven't asked for that anyway -- but rather an open question..."  I like might find great success in the political realm :)


      • a good answer and any further listening will be with that in mind. Although most of my own music also radiates hope, I have to admit that a number of works are decidedly ambivalent --- nevertheless, even that is arguably an improvement on the typical prevailing nihilism. Incidentally, I doubt I'd find much success in the political realm as I have considerable contempt for most politicians.

  • Good stuff David I enjoyed this.  I seem to remember your music being more 'traditional' , whatever that means, but I could be wrong?  Good to see you are out there on BandCamp, they seem like a good platform. Glad you are still composing and sharing with us.

    • Thanks, Ingo.  I absolutely go out of my way to avoid labels, especially in the realm of music.  Neo this, post modern that, tonal, atonal, pastiche, "new music" going on 100 years.  I liked my next door neighbour whose English wasn't strong, commenting that he listened to classical music when he found out I was a musician.  He then told me that he liked the classics by Elvis and The Beatles.  :)

      Seriously, though...I do gravitate to "traditional/tonal" writing.  No graphic notation here, no microtonality, nothing that reminds me of the fact that I actually grew up with modern/academic music as my foundation.  I studied music with a university professor starting at age 10, and his mandate was the acceptance of the free-bass accordion as a viable concert instrument.  All the music written for the instrument was of the avant-garde tradition, and by the time I finished my university studies, I made the conscious choice, based on many years of performing new music premieres in front of audiences smaller than the ensembles on stage, that in order to even entertain a career in music, I'd need to find a balance between music that challenges and music that pleases.  So, while I definitely consider my music accessible, it (hopefully!) contains a level of depth and sophistication worthy of interest by those who appreciate more than the general public might feel comfortable listening to.

      As for BandCamp, it's a good platform for some, I'm sure.  For me, it's paid for lunch a couple of times :) 



  •  Hi Dave,

    your piece is lovely. I congrat you for your achievement. It was a pleasure and an exciting listening.

    The constellation is perfect. Each instrument serves its purpose, well pronounced and beautiful lines and articulations.

    Thank you.


    • Thank you, Kjell.  I really appreciate your kind words.

      All the best,


  • Overall I enjoyed the piece a lot, as a show piece, it might not have brought me emotionally to the war in Ukraine, but as a music lover it was refreshing, thank you.


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