Music Composers Unite!
Below is a link to my newly recorded Violin Sonata:
I would like to say that at the heart of all of my music is an attempt to express the human condition. But unlike what I've written before and since, this one occupies a very special place within me. This is an earlier piece which I wrote while wanting to create a bond between my harmonic language and the great transparency of Mozartian textures, as well as, show an agreement with what I like to think is the essence of Bach's fugues(i.e. I see them as a suggestion of transcendence through perpetual motion and mystery).
Beyond these kinds of textures in my work, every note and every phrase takes on a deeper meaning for me, because I was pondering many deep life-related questions when I wrote this. For example, the first movement is all about creating subtle spiritual connections; I took a curious Lutheran chorale melody which was originally sung to tell of the reconciliation of man through God's grace, and embedded it into my own four-part harmonization. I then engineered the music to slowly rise upwards as if it were reaching for the heavens.
There are other similar symbolic gestures woven into the fabric of the other movements as well. But I don't want to exhaust this post with an essay about the all of the symbolic details, so I'm going to leave it at this.
I'd like to briefly touch on the form of the other movements; the second is a modified arch form (ABCDCB coda -- a coda constructed from A's materials replaces the final would-be A). The third movement is a fugue(note it is actually performed 10 bpm faster than my indicated tempo which was quarter = 42). However, I'm still pleased with the performance. Last but not least, the fourth movement is a playful dance in 6/8, which dissolves into the final chords of the first movement.
I. Adagio Cantabile
Performers: Lara Ciaccio (Violin), Ana Alvarez (Piano)
Audio Engineer: John Escobar
I welcome feedback, or any sort of discussion about the work.
I hope to hear from you, and thanks for taking time to listen.
Excellent work on a first hearing in all four movements!
I appreciate the extra-musical symbolic points that you write in your presentation and I would not prefer to contradict you on those, cause they are very true to one's conscience. On the other hand I am very interested on the music itself and on how well your artistry conveys such extra-musical and spiritual points. Vey successfully in my opinion.
The whole work is well conceived for the instruments involved and utilizing them very imaginatively.
Apart from the transparency of Mozart and the intellectuality of Bach, I thought id did not lack at all on the Mediterranean "lyricism" and string know-how of Vivaldi.
Vigorous performance also.
Unfortunately I'm very much pressed for time the next 10 days, but I will come back to it for closer study and commentary.
Thanks for sharing.
Socrates, thank you very much for your response, and for taking time to listen to the work. I truly appreciate it. It feels great to hear that the extra-musical ideas were perceived well with the music, and I'm glad that you've noticed the Mediterranean folk influences in some of the melodic writing.
I'm looking forward to further discussion whenever you have more time.
Hi Matthew! I liked combination of classical approach and folk melodies with complex harmony. Big changes in dynamics are also interesting and sound contemporary to me. Performance sounds great.
What is you harmonic approach? Do you write melody or chords/intervals first? How do you decide to change the key?
Thank you for listening, and giving feedback! I really appreciate it.
There are parts of this work where I constructed a given passage from melodic ideas that were harmonized after the fact, and other parts where It was the chords first(e.g. the first movement). And whether or not I decide to write chords or the melodies first largely depends on the context of the form, and what I want the music to communicate. I will usually establish a large scale framework and then proceed to work my way to the smaller details of the piece(i.e. phrase structures, textures, harmonic characteristics etc...)
When choosing what actual harmonies/ key change to use, I strive to never do so based purely on intuition or intellect. Thus, I pick the sounds that I love, but I also ask the questions, "Does this idea contribute to the larger context of what I'm writing?, and "Does it strengthen it?". I noticed that if I write solely based on intuition all the time, then I tend to write the same kinds of things all the time, and that can get tiring for any listener.
I like your violin sonata. It is quite nice with lovely musical changes. Thanks for sharing.
Very, very nice music here. It will take a few listenings to figure out exactly what I'm hearing here, but early impressions are very promising.
I would suggest setting up a free account at Soundcloud.com and posting your Sonata there.. It is much more more music-oriented than YouTube, and I think your music would have a better chance of being discoveered.