Liz Atems's Page

"Ok Gav - I guess it happens sometimes. I still wonder at the motivation of someone who goes through the trouble of describing themselves convincingly as a composer, just so they can spam the forum. Takes all kinds I guess. Thanks again for all you…"

"Yes, I received a similar message, in the form of a comment on my profile which, thankfully, has since been removed. I see that Gav has removed this person, but for clarity, were they actually a member or can anyone see and post comments on our…"

"Dane, This is a charming and effective miniature. As usual your style of orchestration shows enormous sensitivity and resourcefulness - listening to this piece, where the instrumental combinations change with every phrase, brought to mind a composer…"

"For anyone who hasn't heard this yet, I've updated the links in the OP to point to the current revision, which I think will be the final one. No significant changes to the notes (other than spellings), only tweaks to the tempo markings. I…"

"Well damn, I'm humbled! I was just going through some of the other poems by Amanda Gorman this weekend. For those who don't know, she's the young poet who was chosen to read one of her poems (called "The Hill We Climb") at…"

"Hi Ingo, Yes, you understand the sound world of this piece perfectly, everything you mention was part of the ground rules I set for myself: no note values shorter than 8th notes, plus never more than 4 voices, mostly legato phrasing, no homophony…"

"This is fascinating and skillfully constructed piece Liz and it will appeal to some but I doubt that it will ever be popular even by classical standards. But you knew that you were setting high standards for yourself and your listeners with…"

"Thanks Dane... A bit redfaced that you saw the earlier post, but ok. I don't think of the interplay in bars 56-60 as true polyphony though I guess it is, more of a "double theme" of the kind you find in... okay, yes, Bruckner. The…"

"Ha, yes, I was going to list a few passages as you asked and lateness in replying came from trying to choose from among the many that span this work. I should have used the term "free counterpoint" or polyphony because it's riddled…"

"Hi Gerd, I much prefer the second one, as well. The opening, with those short ff cello declamations, is really arresting and the development is indeed more varied. Those interjections that Dane refers to (m. 44 and m. 52 are harmonically much more…"

"Hi Dane, I'm another Bruckner fan, love his #8, #9, and #6 (in that order I think), though I could never write in his style and he isn't in my pantheon if composers who have influenced me. I deleted an earlier version of this post because…"

"I think reception depends a lot on to what the listener is accustomed and their general preferences. To me, a long work like this is no trouble, given it unrolls with some very interesting twists in the counterpoint and scoring. It doesn't pall…"

"Hi Saul, Yes, it's really a matter of taste. The piano part is truly exquisite, and for me the the electronic mutterings and whisperings just sort of spoil the effect. The evocation of "in love" would work better if the piece were…"

"Hi Gerd, Thanks again for your feedback! To answer your question... apparently it does have to be this long, as everything in it was part of what I wanted to say in this piece, including L to W. The piece as a whole is much about the dark time we…"

"Dear Liz, I can say that I took quite some time to listen to this huge work together with the score. It has a wonderful theme and contains tremendous beauties thoughout the piece which really let me recall Beethoven's 131,1. But still I also…"

"Hi Dane! Well that certainly jarred me out of the conventional tonality mindset I've been in for the past few weeks! I think I needed that... Yes, relatively modern in idiom (though still anchored in the mid-20th century not-quite-avant garde).…"