This work is a loose form of variations. Thematic material first introduced in pizz snippets, then a variation with sweeping arpeggios, then varying layers of counterpoint climaxing in a full tutti contrapuntal section, followed by a collage/montage ending of overlapping styles.
Any suggestions for improvement would be greatly appreciated.
This is a very energetic composition you have here! I'm not sure I could really offer much help in the way of improving the quality of either the composition or the recording. It does sound as though there is quite a bit of clipping going on, though. Whether it's from the original recording or a product of compression, I wouldn't know.
Are the variations here based on a known piece of music? The theme that is introduced right around 1 minute in sounds exactly like something I heard on another forum I used to frequent years ago. (I think it has since been shutdown, which is unfortunate, because I'd really like to find the piece I am referring to)
Anyways, I really enjoyed listening to this, thanks for sharing!
Thanks for the kind words. I'll go back and check on the clipping; I exported audio directly from Finale 2014 then added reverb via Cubase. I believe the clipping is from Finale.
The thematic materials, as well as all other material, in this work are mine. Of course, I might have accidentally "lifted" a phrase unintentionally. That would be embarrassing, but with 55 years of music stored in my head, who knows?
I don't know whether I can be of any help. The composition is yours and so it should be and stay. The recording or rendition, mixing are issues for improvement. When you have a massive 'tutti', all the orchestral instruments are pressed together in some tight bunch of noise so that no harmony or single instrument or section can be distinguished anymore. It sounds like a loud church organ. This has probably to do with the spacial settings (pan and depth, but also wit the choice of reverb and maybe equalising). Some libraries demand a harsh pan splitting and specific IR (Impuls Response or convolution): sound moves about within and around the orchestra in a specific room. That creates, depending on the position of the listener, a special ambience, a typical sonority and fullness of the overall orchestral sound.
split all your sections and solo's.
give every part a specific pan position and depth, according to the seat position in the orchestra
experiment with reverb settings until you find an open space carrying the sound through the space (don't overdo in reverb tail-length!)
listen to comparable recordings and try to imitate that sound from the listener's ear point.
You have great advise from Max. Interestingly, I had the same reaction for your tutti's especially your brass. Somehow those close chords are sounding strangely organ-like. I heard this before with other works, and experimented to open those chords which helps.
Your sounds are great in some places, past 4: especially. Your style is way past my old taste, but in spite of it, I enjoyed listening and hear your talent...