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  • Vow, this will be difficult but:

    Hi Gavin,

    First of all thank you for sharing this accomplished work of you.

    What I observed is:  The sense of safety...

    It is very carefully written for the brass quartet.  It is a good lesson of

    what to do and not to do for me...

    The repeated pitches is a safe instrument for breath control and tu ku  tu (if I am right).

    Repetition also serves for syncronization...  It is a very safe work from the point of

    syncronization.

    The level of difficulty groupwise is used with careful economy and climated only at the end.

    The solo difficulty is spreaded on trompets and FHorn.

    By the way the Eflat Fhorn solo is graceful, very carefully written with almost no repetition

    in contrast to the ensemble repetitions.  So, the piece breathes in the solos... 

    Very skilfully deviced.

     

    Overall, the piece is just another example of your empfindsamkeit which is opening

    up beginning with your love song from the last concert.  It is a tender, caring, paying

    due attention to the around and if previous pieces taken into account with a sense of

    lightness and amusement when appropriate.  Very mature personality if I may.

     

    I appreciate the lesson given.

    Thanks.

    Al.

     Note: By the way who is Sir Orangefire?

    • Thanks Ali for these thoughtful comments. I am fortunate that the Finale notation program provides tools to help me know when I am exceeding the comfortable range for performers based on skill-level, and I always try to write for intermediate-level or slightly less. I also am fortunate that I know a couple of horn players and was able to run it by them for feasibility, and got a few tips there. Getting feedback from actual musicians makes a big difference. Probably the hardest thing to do with horns is find the right breath spots, which I suspect is the hardest part of horn-writing, something I will continue to work on.

      In answer to your final question:

      Program Notes: Sir Orangefire is the bravest knight in all of Orangevalia. He keeps the kingdom safe by guarding the borders from dragons, who are always looking to make away with its sheep, oranges, damsels, and gold. In “Mvt I: Battle,” the knight faces the dragon Squeeaow, who is trying to dam a river in the Northlands so he can control all the farmlands there. Sir Orangefire defeats Squeeaow, but is gravely wounded. His tale of recovery and march to the capitol continue in Mvt II: Respite, and Mvt III: Return 

  • Wow Gav, good writing and a good performance/recording too.  I especially liked the second section with the horn featured leading to the partial recap, well done!

    Thanks for posting, it's neat to see CF people getting recognition.

    • Thanks Ingo, it's really in three movements which blend together with a recap of the opening themes presented backwards in the third movement. Nothing like a live performance to let you know what works and what doesn't!

       

  • a cogent work with a lovely Lento/Adagio section. I think the ensemble put forth the work in a convincing manner.  I'd imagine other ensembles would want to program this one.

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