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Thanks. Your music isn't bad either. Reminds me of a magical forest
Oh dear! I wrote a comment and apparently promptly deleted it by mistake. :-)
Michael, thank you so much. I am truly overwhelmed, and appreciate your comment very much. I didn't know Bach said that - talk about modesty!!
Yes, this is a suite of dances: allemande, sarabande, minuet and gigue. I am playing this, though I am not a proficient pianist - so you'll hear a lot of my work in midi version.
Not sure about the counterpoint question. I haven't studied composition, I work more by instinct (for what it's worth) than education. I do like experimenting with polyphonic writing though.
Still feeling my way around this forum, but delighted to have found it. I have just listened to your "Symphonata" and find it amazing that you are self-taught. Yes, there are shades of the early 20th century British composers, but your own distinctive style. Your orchestration sounds superb - I haven't had the courage yet to try orchestral. Loved the percussion!
For some reason I couldn't hear your work "Skating". Any idea why? I'll try again presently.
Do tell me more about your composing.
Regards - Annie
Thanks Michael.If you want hear more of my music please go to my Soundcloud Page https://soundcloud.com/peterkoczewski
I think Fredrick is putting us on. He is a student of history, a classical music fan, travels to Europe. I can't believe he believes Bach's Magnificat is no better than Justin Bieber. His views on theology are also contrived for our entertainment.
Michael, thanks for the feedback. Interesting that you came up with the Animal's reference. I can see where you get that; I never picked up on that before. The inspiration for the piece was from a jazz tune I had written a year earlier. There was an opportunity to be a part of a local "composer's concert" so I wrote the quartet for that. I just thought that the jazz tune would be a good jump off point. I also wrote what I thought would be on the conservative side with regards to difficulty.... I really missed that target though. The quartet kind of butchered it. I have since spoken with a very accomplished violinist friend in L.A. that said even a seasoned quartet would need a bit of time to get the piece right. All I know is that I am glad I didn't have to play what I wrote! LOL
As far as making music for "the masses", there was no thought for that at all. I just wrote what I heard, and have really appreciated the efforts of Kronos Quartet by spearheading mixing genres. But I do have much to learn as well in developing my voice. Not only is this my first quartet, it is the first "classical" piece I have ever finished. I have two other works, larger in scale, that I started before the quartet, but they are nowhere near completion.
As far as the midi implementation I have MUCH to learn. The composition was done completely in Notion 3 with the BASIC Vienna Ensemble library. And some of the articulations did not cross over well when I converted the score to a wav file. But really it is a springboard to just get an idea of what it sounds like with the primary goal of getting the piece played by a live quartet.
But the current piece I am working on is going to be a challenge. I have been commissioned to write a trio.... for vibraphone, viola, and soprano sax. Big learning curve with respect to timbre and ensemble.
Ok, went on your website to listen to skating, which I enjoyed. I can see that you speak the same tonal language as me, and I bet you play piano too, judging by some of the rich harmonic progressions. If you want the chance of having more music played, then write for duets and small ensembles. I think there is a desire for tonal and melodic modern works, as too many people gain no real pleasure from the "intellectual" stuff (most of which I'm highly sceptical of).
Eugene Nazaroff Jr.
Miguel Angel Urbano Lasarte
Wesley Lawrence Curry II
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