Replies

  • Ahh, delightful. I enjoyed every moment of this unique and innovative music in a classical style for a classical orchestra. This technique of letting just one or two voices play at at time and still utilizing the full orchestra to build up a wholeness of complexity is truly appealing and make it interesting to listen to all through.

    And thank you so much for the scores. There are many articulations that I would like to try myself.

    Thank you, Ingo.

    Kjell

  • Hi, Ingo,

    Most interesting.

    From the opening being for celeste; the antiphonal effects both within the wind and between wind and strings. I enjoyed the way you 'touch in' colours otherwise vary them greatly. Another thing is the way you give a quiet background to some of the wind figures on the strings (bars 43-49 for instance). Also using the piccolo in its lower register playing on its lyricism. (Not sure you need the amount of wind players you ask for on Page 1. I could only see one piccolo part but the rest divide in 2 at points (bars 33 for a few.)

    A most happy summer piece with interesting and continually shifting harmonies. I didn't look for salient themes so I never questioned if it was through composed - seemed like it but everything fits together. Superb rendering. I doubt it would sound better played live by an experienced group.

    A nice listen (well, several so that I could follow the score on my small screen)!

    Cheers, Dane

  • Thank you Kjell for the kind words.  I hope the articulations are helpful to you.

    Kjell Prytz said:

    Ahh, delightful. I enjoyed every moment of this unique and innovative music in a classical style for a classical orchestra. This technique of letting just one or two voices play at at time and still utilizing the full orchestra to build up a wholeness of complexity is truly appealing and make it interesting to listen to all through.

    And thank you so much for the scores. There are many articulations that I would like to try myself.

    Thank you, Ingo.

    Kjell

    Chamber group
    This is a piece written for chamber orchestra that I would like to get some feedback and criticism on.  It is a short piece in what is roughly an imp…
  •  This is really an interesting piece. The mix is well done. Musically I can tell it's tied to a tonal center but can't seem to place a direction or a start to finish feeling about it. It seems to wander through the landscape in a rather aimless kind of way .I like the instrument selections and the energetic feel it has.

  • Thank you Dane for listening and commenting, you have made some good points here and I have learned from that. Your point about antiphonal effects (Ok I had to look that up) reminds me that I need to work on integrated orchestration as well as the conversational interchanges. In the past I have ended up with large globs of ill defined noise instead of powerful tuttis but I know that there is a better way. Early Mahler perhaps?

    This is NotePerformer and the lack of fussing is a great appeal to someone with little extra time. I didn't pay much attention to the numbers of instruments I was getting. I knew I wanted piccolos and flutes but I thought I had no choice as to the number of each that I got (multiples in each case) but since you mentioned it I've found that I do have more choices there.  Having extra piccolo players sitting around with no parts to play might not help me get gigs I suppose.

    As far as 'through composing' I tend to vary my approach, often haphazardly, so if I don't start with themes in mind sometimes I get nervous and go back and insert some for safety sake. Good to be flexible right? Ah, but then there's that development thing.

    Thanks again!


    Dane Aubrun said:

    Hi, Ingo,

    Most interesting.

    From the opening being for celeste; the antiphonal effects both within the wind and between wind and strings. I enjoyed the way you 'touch in' colours otherwise vary them greatly. Another thing is the way you give a quiet background to some of the wind figures on the strings (bars 43-49 for instance). Also using the piccolo in its lower register playing on its lyricism. (Not sure you need the amount of wind players you ask for on Page 1. I could only see one piccolo part but the rest divide in 2 at points (bars 33 for a few.)

    A most happy summer piece with interesting and continually shifting harmonies. I didn't look for salient themes so I never questioned if it was through composed - seemed like it but everything fits together. Superb rendering. I doubt it would sound better played live by an experienced group.

    A nice listen (well, several so that I could follow the score on my small screen)!

    Cheers, Dane

    Chamber group
    This is a piece written for chamber orchestra that I would like to get some feedback and criticism on.  It is a short piece in what is roughly an imp…
  • Hi Ingo,

    Wonderful work! Truly enjoyable.

    Your use of the orchestra reminded me Klangfarben.  Sorry I cannot go deeper at this moment.

    But your approach although not dissonant and even tonal looks as if post-modern...

    Using the contributions of the 20th cty music but not so dissonant and expressively atonal.

    To write an atonal piece you do not have to use dissonance all the way.

    Your approach of using klangfarben is somewhat similar, one can write

    klangfarben in totally tonal writing,  I guess.

    It would be interesting to analyse your work deeper, sometime later maybe.

    Well done. I liked it a lot.  

    Ali

  • I haven't heard all your music obviously but I haven't heard any large globs of ill-defined noise. You're right, though, that's the province of Mahler. (My dentist plays music in his surgery and I once suggested he used Mahler to drown out the cries of pain!!)

    Your style is as it is and there'll come times when you need a tutti. The antiphony in this work is rather an effect I happened to notice (probably because I apply it - perhaps too often) rather than absolute section by section antiphony. The way it blends in this piece worked very well.

    No matter, I look forward to more of your work.

    Ingo Lee said:

    Thank you Dane for listening and commenting, you have made some good points here and I have learned from that. Your point about antiphonal effects (Ok I had to look that up) reminds me that I need to work on integrated orchestration as well as the conversational interchanges. In the past I have ended up with large globs of ill defined noise instead of powerful tuttis but I know that there is a better way. Early Mahler perhaps?

    This is NotePerformer and the lack of fussing is a great appeal to someone with little extra time. I didn't pay much attention to the numbers of instruments I was getting. I knew I wanted piccolos and flutes but I thought I had no choice as to the number of each that I got (multiples in each case) but since you mentioned it I've found that I do have more choices there.  Having extra piccolo players sitting around with no parts to play might not help me get gigs I suppose.

    As far as 'through composing' I tend to vary my approach, often haphazardly, so if I don't start with themes in mind sometimes I get nervous and go back and insert some for safety sake. Good to be flexible right? Ah, but then there's that development thing.

    Thanks again!

    Chamber group
    This is a piece written for chamber orchestra that I would like to get some feedback and criticism on.  It is a short piece in what is roughly an imp…
  • It is scored for an entire Orchestra yet there is very little going on as one finishes a phrase the other takes over. Did you think about thickening the work a little to give it some grandeur and depth?

    Regards

  • Thank you Ali for listening and mentioning Klangfarbenmelodie (German for sound-color melody). I was unaware that Schoenberg had detailed the use of this technique and demonstrated it in his work.  I listened to Five Pieces for Orchestra Op 16 and I see that there is a similarity. Schoenberg's work, besides being much more sophisticated and developed, very smoothly blends the transitions between the instruments which allows the melody to continue seamlessly. This is appealing and useful, something I can try and make use of. 

    Thanks again!

    Ali Riza SARAL said:

    Hi Ingo,

    Wonderful work! Truly enjoyable.

    Your use of the orchestra reminded me Klangfarben.  Sorry I cannot go deeper at this moment.

    But your approach although not dissonant and even tonal looks as if post-modern...

    Using the contributions of the 20th cty music but not so dissonant and expressively atonal.

    To write an atonal piece you do not have to use dissonance all the way.

    Your approach of using klangfarben is somewhat similar, one can write

    klangfarben in totally tonal writing,  I guess.

    It would be interesting to analyse your work deeper, sometime later maybe.

    Well done. I liked it a lot.  

    Ali

    Chamber group
    This is a piece written for chamber orchestra that I would like to get some feedback and criticism on.  It is a short piece in what is roughly an imp…
  • I'm not a good critic (sorry), but I find it very original. What are your influences on this work, in your opinion ?

This reply was deleted.