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        • On the contrary, Michael, I don't think my comments were particularly useful but thankyou for the mention. I too am very fond of Debussy and the occasional luminosity of this work snared me! I was more interested in how it could be played and found I couldn't technically play it at one point. Gregorio has far more pianistic hands than I have. I took on learning of one of Liszt's studies precisely to get that "double trill" effect between awkward fingers (2 and 4) but that still+ wasn't enough'

          It isn't easy to play anyway, but a lovely piece to listen to.

          Cheers!

        • Thank you for offering your impressions, Michael! In particular, your noticing a play of impressionism and the 'expressive.' 

          Debussy - one could posit, the father of modernism - for me, is a continuing influence and inspiration - for the economy of his approach, and how his (then) new and radical lense on the classical tradition still sounds so fresh and convincing a hundred and thirty years later. 

          Definitely, one of my top favorites.  (Where would we be without Debussy?:)

          Thank so much for listening!

  • This isn't really the kind of music I usually listen to, but your work has always been interesting to hear.  Sounds like the aural equivalent of impressionistic paintings... which applies to much of your work, I suppose.

    Starting at around 1:20 or so, noticed your characteristic whole-tone-like arpeggios that crop up frequently in your work... ;-)  Like a hidden musical signature of sorts of your authorship.

    • Hey HS!

      Thank you for giving it a whirl.  Im glad there was some interest for you. (You know, even a major scale has 5 whole tones in it:)

      It's been a while - I hope things are well for you.  I think of your young one, and imagine, maybe,  that Beethoven's music is part of the sonic landscape.  

      (I remember my 3 year old son being totally taken with 'Song of my Fatherland' - Smetena, and with Dvorak's 9th.. singing along while attaching train tracks..)

      Best wishes.

      • You know, even a major scale has 5 whole tones in it:)

        Haha, I do actually like the whole-tone scale, y'know. ;-) During my college years I improvised a snow storm piece primarily based on whole-tone scales. Unfortunately it was never written down and I don't remember much of it anymore.

        As for the young'un... This is probably old news for you, but I discovered just how much children are their own person -- they may be like their parents, but they are most certainly not the same persons. Well, that's a really roundabout way of saying that he's very stubborn, headstrong, and has his own will, and especially his own likes and dislikes. And so he has firmly decided in his li'l head that he doesn't like Beethoven, but he does love Dvorak's 8th (and knows the length of each movement down to the second). What drew him to it was that I use the 4th movement as a ringtone (because of the opening trumpet fanfare), which drew his attention, and then one time he heard the first tutti passage about a minute and a half into the movement and loved it. Nowadays, though, he decided that he likes the 1st movement better. Especially the loud passages (calls them "volcano" and "hurricane" :-P).

        Anyway, this is veering off-topic... back to the whole-tone scale thing, I'm noticing that particular flair of arpeggios/fast notes over whole-tone like scales that seem to characterize much of your work. I consider it your "signature", and is one of the endearing features of your music. :-)

        • "but he does love Dvorak's 8th (and knows the length of each movement down to the second)."

          This is an astonishing process to watch unfold. A long time back, I wrote a piece for small ensemble that had a very strange (atonal) line for electric guitar in the introduction. My son would casually sing  (in tune, mind you) with that tune.. 

          Im inclined to push back a bit on the whole-tone signature idea - (actually at the 1'20" mark you mention, the harmonic structure is is a Gm with M7, M9, M13 - kind of a D7 over a G minor, where the notes C,D, E F# - give the impression of whole tone.. but later on, it is true, there are a few measures which purely utilize the whole-tone.  Of course you are aware that some of the fugues haven't a trace of the whole-tone:) - but I am much appreciative if you find it an endearing quality!  Thank you!

          • I think maybe I got a little too carried away with that whole-tone thing... it's not really the defining characteristic here, but the flair of fast notes in that distinctive style that identifies what I call your "signature". I don't really know how to precisely describe it, it's one of those things that you just "know" when you hear it, but it's hard to define.  The whole-tone thing was just one of the incidental features that I latched onto in trying to define this nebulous idea a bit more.

            It's like a friend of mine who improvises at the piano in a very particular style -- every time I hear it I immediately identify it as his playing, even when it's just an excerpt completely out of context in an unexpected place. He just has this idiomatic way of selecting chord progressions and rhythms that just scream his name at me every time I hear it.

            • Thanks for clarifying, HS.  I see what you mean. Certainly in considering the notion of recognition and the 'why' or 'how' that comes about is something I find tricky to decipher at times, depending on the composer.. but usually Im just satisfied with the 'I know it (them) when I hear it (them)'  -as my explanation  :))

  • Gave it another 2 listens, second time with score.  Very nice structure that only started dawning on me once I followed along the score. :-)

    • I should have mentioned that following the score might help in making sense of it. As you probably noticed, motifs and fragments are used as a connecting line for development..

      Very generous of you to dig into it more. 

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