Symphonic piece

Here is a work I have posted before, now being reworked and played back by NotePerformer, a far better sound lib than previously.

It consists of three continuous piece. I am also glad if you just listen to the first one, ending at 5:23.

Stream Lambda CDM 4 Np by Kjell Prytz | Listen online for free on SoundCloud

Greetings,

Kjell

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  • Hi, Kjell, 

    This is some accomplishment. Grand build-ups; contrasting sections and a fairly complex linear structure. At moments it took on a baroque tone, accentuated by the complexity of individual voices. The piano does a great job.

    Once through the introductory bars (around 1'20" the scoring gets quite dense but this dissolves into the second part with its beautiful violin/piano diet supported by quiet winds in the background. 

    The full tutti from around 11'15" is grand indeed, a truly arousing, energetic close.

    My only comment is that for some reason part 1 came over a little blurry. Too much reveb? Too near the red line? I really don't know, but the texture is complex so perhaps it's just meant to be like that. Only you know! (I tried it with different headphones with different characteristics but it could be the piece needs speakers.) There's no such blurr in parts 2 and 3. I felt the melodic lines were better defined in part 3 given the fuller scoring and that great tutti.

    Superb piece and congratulations, developing it into a 12 minute work.

    All the best,

    Dane

  • Hi Kjell -  I've listened to your whole piece and it is very well done. NotePerformer is great for orchestral work and a real advantage for composers. You are very skilled at developing and extending your themes and using appropriate orchestration which makes this an enjoyable work to listen to.

    I have two suggestions which are definitely not criticisms. As Dane has noted I think you could improve the clarity here in some spots, not by changing your orchestration but rather by adjusting the audio frequency equalization. Small adjustments in the lower ranges can make a big difference.

    I also feel that for a piece of this length that relies on repeating a main theme you would benefit from a greater emphasis on contrasting material in your center section. Just a thought.

    Good work, thanks for posting!

  • Dear Kjell,

    as always I definitely get lost in your poignant music. I find your way to blend nordic and sort of gitan elements quite unique. Your music sounds so complex and colorful to me.

    I agree with Ingo, the performance is pretty impressive, it actually feels alive. I guess I should give Noteperformer a try.

    Thank you for having shared this marvelous piece of yours.

     

  • Listened to the whole work. There are certainly many good parts and grand orchestrations that I enjoyed, but—since this is the analysis & critique section—one thing that stood out to me was that the work, as a whole, seems to be lacking in contrasting sections. It mostly seems to be repetitions of the same theme in various guises—not bad, mind you—but a little monotonous after a while. Harmonically, there are occasional shifts and key changes, but overall not much in the way of interest, a section in a different mode, say.

    Perhaps a little more development of the theme would do a lot of good for this piece. In climactic passages perhaps some thematic development to serve as build-up before restating the theme in its original form again. Add some spin-off melodic fragments derived from the main theme as background echoes once in a while, for added interest. And so on.

    Also, larger variety in orchestrations would be nice. Just repeating the same theme isn't necessarily unworkable if you do it right—see Ravel's Bolero, for a classic example of what variety in orchestrations can do for what's essentially the same melody repeated N times. Most of your piece holds the melody in the lower register, with more-or-less the same overall mood with thick orchestrations. Perhaps that's the goal, I don't know, but occasionally changing things up would do it a lot of good. Perhaps in one passage you could have most of the orchestra doing its own thing while a flute "secretly" plays the main theme in the background in high register. That sort of thing. You do have a few sections with thinner textures, but a little more sprinkled throughout would be nice—less heavy on the ear. And even in sections that repeat the main theme, it would be nice to sometimes let up on the thickness of the texture -- start with a few bars of the usual thick texture then switch to a lighter texture, so that when the thick texture returns later it sounds fresher to the ear.

    And—this is probably just my personal bias—more harmonic variety would also do a lot of good. Not just changing keys once in a while and then restating the main theme with the same chords transposed, but for example harmonizing the main theme differently to highlight different parts of it in a particular passage.

    Just my $0.02.

  • Thank you very much dear friends for spending time listening and commenting my work.

    It is a true encouragement and inspiration to read your comment containing also critiscism but of the constructive kind which is appreciated. Although I do not post anything if I myself aint fully satisfied, the criticism is most useful for coming works. I store it in my mind for sure.

    I thought this was a piece with high contrast fulfilling my motto maximum contrast while preserving continuity. But I guess the comment on lacking contrast referes more to the thematic or harmonic part. Indeed, it is a theme with variation for the first and third movements. There are reflection and inversions and counterpoint. In the third movement I let the low register accompanying part become the leading melody. It was fun writing like this and I could never expect to be exposed in the third movement. Very well done.

    All the best

    Kjell

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