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  • Thanks for the score, Stephen. This is a great addition to my "Listening List" for my composition students, who range in age from 6 to 67, mostly have perfect pitch and and mostly sleep, drink and eat serious music. They are insatiable for new scores, especially from today's composers. If anyone ever thinks that classical music is "dying", they should chat with my kids for a few minutes.

  • Thanks, Mike. I'm not sure which doubling you are referring to, but near the beginning it is for acoustic purposes, with the piano punctuating entries, both of the saxophone and the other instruments. Later on, it is for emphasis and filling out chords. The first version of this piece was for sax and piano, and not wanting to add extra layers, I doubled a lot of the rhythmic stuff near the end. There is one place in the middle that I possibly should have doubled the violin (m 102). It never really worked in rehearsal (or in the performance), so I may revisit that before the next performance.

  • Hi Stephen,

    The work took me elsewhere for 14 mins.

    I was curious to note that the piano part did a lot of doubling, was that a practical consideration or just what you wanted? What organising principles did you use in this?

    Great performance, fluent rhetoric and concise writing.

    Mike

    mikehewer.com

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