Hi Fellow Composers.

I wish to submit one of my early works (a few, actually) wrote under the influence of reading an essay of late Irish nobel Prize Seamus Heaney about Shakespeare's "Tempest".

Hope you'll enjoy (sorry, for YouTube link, can't locate the audio file).



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  • Hi Fabio,

    Good to hear that you can fill your days with music in these tough and rough times, especially in northern Italy.

    I don't recall having heard that piece before. Since it is mostly a solo flute, I really like it. It's very expressive and thrilling with some wonderful passages (in the middle - for the flute).

    Of course one can hear the limited articulations of the GPO instruments, but that doesn't disturb me at all. The lack of dynamic variation is more an issue. It's an expressive piece and therefore it could do better with more dynamics and tempo variations. Wouldn't you consider to redo the composition with the VSL flute and bassoon to add more and better detailed articulations? It's more than worth the effort!

    Keep it safe and healthy,


  • Hi Jos, thank you for listening and sharing your thoughts.

    Receiving compliments for flute writing from a skilled flute player was beyond my expectations; now waiting for comments from bassoonists saying the other solo part is awful — you're already accustomed to my peculiar sense of humor…

    I agree with you about the limits of GPO instruments, other than the beautiful timbre of the flute.
    Add I "recorded" Redress with Notion (v.3 at the time; managing expression in the later v.5  is even worse, in my opinion): you had to cheat and tweak notes and markings to a discouraging extent.
    Reworking (re-perform) it it's a good idea; guess I shall have plenty of time in the next few weeks.

    Back to my new Orchestral piece now.

    Keep safe

    Redress. After Seamus Heaney
    Hi Fellow Composers. I wish to submit one of my early works (a few, actually) wrote under the influence of reading an essay of late Irish nobel Prize…
  • Hi, Fabio

    A most interesting piece, episodic, through-composed with local development in places, notably the imitative and canonic entries near the middle. And you've shown so well what CAN be done with the Garritan library.  It expresses a number of moods for me. The only part that I found difficult was the chromatic interval passage (or compound - minor 9th?) from between around 2'26" to 2'40".

    It also seemed as if you had the flute playing with more reverb than the bassoon. No problem with that but in the flute's higher notes it sounded as if it were playing in a different plane/part of the sound stage. An attractive affect if I may say so.

    There isn't a huge repertoire for flute and bassoon and this is an fine addition.

    My wishes also that you keep well and avoid this virus horror. It's starting to afflict England now and our government was a little slower off the mark than yours.

    All the best then,


  • Ciao Fabio ..hope all is well with you my friend..i like this ..it sounds very Authentic and traditional. 

  • Hi Dane

    Thank you for listening and thoughtful commenting.

    GPO flute is a favorite of mine, I prefer it to VSL’s for solos.

    I’m revising this composition, both in sonics, as Jos already suggested, and writing. This time I shall be able to work in DAW environment, allowing for more control over expression and ambience — even if I will go for GPO again, instead of switching to VSL. I have doubts about it.

    I had a listen to the dissonant excerpt you remarked. I can see it may sound unpleasant, still is among of my favorites — others do not.
    It must be explained in the context of the “underlying” Heaney’s text; it’s a step in the overall re-dressing process in Shakespeare’s “Tempest”: I read it years ago and can’t recall other than feelings and the huge impact I had from it.

    I guess the effect you noticed on the flute is due to “ringing” of certain notes interacting with the reverb settings. You know, notation software mixers doesn’t allow for much finetuning: you set things once and lose control of them over timeline.
    The original file being corrupted by HD breaking down twice, I was able to rescue it at least for the scoring and the name of the plugins that were used, some I don’t do anymore.

    I’m confident a new, DAW hosted rendering, with more parameter control over acoustics and expression, will be an improvement on both sides.

    Thank you for your concern about the results of the “virus horror”. We are fine and carefully locked at home.

    Best wishes

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