Silly title, but I had to call it something. I usually have a bundle of works in various stages of development. Now and then, a few are finished more or less at the same time. This 12 minute piece for two pianos is one, with more 2 piano works almost ready. It opens rather loudly, so be careful.
It is mostly vigorous, with some tranquil moments. I am pleased with it, but undoubtedly, like almost all of my works, it will probably be modified some day. Presently, I am reconsidering tempo and dynamics. The name will probably change. "Rocky" is a reference to Rachmaninoff, and I have a few variations under consideration
To keep my listening and comments honest;
As I said so many times, my musical likes ends at about Brahms,Mahler, Dvorak and such, so your style is way above my understanding. I do admire the techniques involved, the complicated structure and strange but nice harmonies. But most of all, your tremendous power of producing new works is what I admire, I am slow as molasses flowing in Canada in the winter.
Thanks for posting it, I'll listen again tomorrow..
I've been meaning to catch up with this, Richard. It is amazing how titles instantly become wedded to one's response to a piece of music. Perhaps why Debussy sometimes put the title after the piece, as with his Preludes. But this music does suggest fast-flowing water, maybe a level two whitewater river. The obstacles are low and do not cause serious disruptions, just regular bumps that appear and disappear as they blend into the overall pattern. So, it's not a silly title at all. In fact, it's perfect. Definitely high-energy music, but channeled effectively. The more it goes on, the more I am able to pick out the separate strands. Sometimes it seems as if it's running out of steam, but then it picks up again. There is good use of contrasts with dynamics, metric patterns, tempo, and overall form. These things may not be as noticeable to the traditional listener, but they are there, and attest to your command of compositional technique. I have no idea how one goes about creating music like this, but it's wonderful that we have such varied and accomplished talents on this forum.
"I have no idea how one goes about creating music like this, but it's wonderful that we have such varied and accomplished talents on this forum."
I have no idea of how I do this. That is, I understand the methods and techniques I use, but where doe the idea come from, that gives me something to use these methods and techniques. I do know that as age degrades my playing, I spend much more time composing.
Ted, thank you for your comments. I undersand your position quite well.
My journey in musical understanding began when I first heard The Rites of Spring, and a bit later when a friend played some Bartok for me. Those two events have had a profound effect on my musical development, as might be evident from my work. Other influences, to be sure, but these were the most striking. David Funke, wherever you are, I thank you for Bartok!
Interesting but understandable what you are saying about Bartok. I like very much what he has done collecting Hungarian folk songs, using them in his compositions. His late works, mostly while he was in the USA is much harder for me to understand. Kodaly, his contemporary, and also collecting folk songs, did incredible service to save the heritage of thousands of years. Keep going, do not worry about your playing ability, you have great outlet for your talent in composing.