The first movement of this work won the KMTNA Composition Competition back in 1993. I finally finished up the final movement today and thought I would post the complete work.
Hope you all enjoy this work, it is one of my favorites.
Very well written and played pieces.
The interpretation with GPO is amazing. Sometimes i feel some passages a little bit mechanical but i guess it's what you wants.
I'll just try a little more reverberation and maybe a different equalization to get a more "round" and warm sound in the low-middle frequencies.
I just listened to the quartet. New York today is as it has been for about a week, overcast, a bit raw, but not bitter cold. Your piece is a nice listen for such a sunday afternoon, bringing a nice warmth. Sort of like what I might turn to someone like William Walton for.
As you have heard from my piece for flute, cello and piano, I am focused very much on music for small groups and I am concerned about the special problems of simulation when instruments are so exposed. (I confess that I am really ambivalent about how much time I am willing to take from composition and to devote to "performance" and "production", but it is hard not to feel the comparison to professionals playing the real instruments.)
Anyway, I have a couple of questions:
1. How much of the modwheel, sustain pedal and articulation choices do you make after you have listened to the work, as opposed to the inital time of entering the notes.
2. What effects have you used, particularly what reverb
This last question is because I sometimes feel I would like to get a sweeter or warmer tone out of the strings.
To be honest, I trust the Finale Human Playback more than the guys here who are really going for an ultra-realistic simulation. I just want an idea of what the piece will sound like when performed by the real thing. This is something I think GPO EXCELS at. I love that for the most part I can plug in an actual score in Finale exactly as the musicians will see it and it will play it pretty darn close to the real thing without much, or any, tweaking. Occasionally something plays wrong, and i have to figure out what I did wrong in the score, but the MIDI stuff, although I know how to do it, I generally don't mess with it.
I use the Ballroom 1 setting on the Ambience reverb for chamber music. Some guys want more reverb, but I am not a fan of a lot of reverb. I always envision chamber music being performed in a small room. If people fill the room, the reverb will be lessened considerably, so for chamber I like it a lot drier than most.
Oh, and there are places meant to sound mechanical, especially in the first movement. In case anyone is curious the entire piece (all four movements) are based on a Lydian/Mixolydian scale (C, D, E, F#, G, A, Bb).
Thanks for your responses!
DMA Student and Teaching Asst in Music Theory/ Composition at the University of Miami Personal Website