Very beautiful. It is very effective how the opening phrase takes on different characteristics as it is passed around the orchestra. Some passages are reminiscent of the slow movement of Bartok's 3rd Piano Concerto - the "night music" in between the chorale; but it's evocative, not imitative. In other words, congratulations.
The piano is placed in high relief to the orchestra - it's really piano music! The orchestra provides both strong support and contrast, and maintains its own character.
It does seem to end somewhat enigmatically - is it part of a larger work? An immediate segue into another movement? Whatever the answer, this is fine, fine contribution to our little corner of the internet.
Glad to see that all that time up on a ladder hasn't hurt your iiner ear!
A very modern and elegant approach to the piano part which I haven't heard in a long time. This is really a marvelous composition and the way you position the piano makes the symphonic part easier to hear. The instruments and sections are well-defined.
Great use of GPO and great writing. I, too, am wondering if this may be part of something larger.....seems to end as if leading into something ahead.
More David, More!
Jack Cannon--Toshiba laptop, 2.8 GHz CPU, 1.5 GB RAM, GPO4-JABB3-Auth. STEINWAY-Gofriller CELLO-Stradivari VIOLIN-COMB2-WORLD, FINALE 2009/11, RME Digiface, Cardbus, V-Stack---Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 8, MOTU Traveler, MOTU Micro Express.--MacBook Pro 2.2 Ghz CPU, 8 GB RAM.
Incredibly visual, as though depicting multiple storylines (simultaneously!)
From subtlety to frenzy….and back again! I recognize this well crafted balance in your arrangements.
But I have to say David, that I thought a composition on your website "South Mountain" is sheer fantastic!!!!!
Incredibly rich in texture and imagery, and I loved the continual rhythmic flow beginning around 3:30.. There's a low pulse-like theme (horn/strings) that acts like a driving force. A visual story that meanders a winding road between wonder and foreboding.
What was the inspiration for this work?
Sorry I'm off topic from your original thread….
Just thought I'd share..
This is simply GREAT WRITING!!!
I like this moder style!!
Also on the orchestration point of view this is outstanding and GPO sounds REAL, extremely real!!!
Only my congratulations for this great piece of music!!
Best to you,
Thanks for giving it a listen, Ron; and for the kind words and astute insights.Originally Posted by rpearl
Virtually everything in the piece is in some way based on permutations of parts of the first three measures.
The piano I treated partly in ensemble; but also with several segments of soli... advantaging a few motivic elements, particularly, to build in a sense of thematic reflection.
(Any reminiscence of Bartok's third piano concerto in E is perhaps due to my study of it years back, and of Tibor Serly's masterful completion of the unfinished piece.)
As for the ending, Ron -- I admit to sweating over that, and listening to it a good two dozen times... before I decided it was the right way to do it. In a sense, it's almost postludial to the piano run-up just before it; and I hope, consistent with the ruminative quality of this little sketch.
By the way, the ladder didn't get me; but digging up the septic system damned near killed me... lol!
Thanks again, Ron.
Man this piece is awesome, David!
Do you know how many times I've played this today? Let's just say so many times that I've lost count!
Thanks for listening, Jack!Originally Posted by Rhap2
The piano I positioned approximately dead center -- one instance per each clef, with, if I remember rightly, the bass just a hair to the left, and the treble just a hair to the right. I've tried a lot of other things, but that seemed to produce the most comfortable blend with the orchestra.
Per my post to Ron Pearl, above, the ending felt fitting to me (though I did have to "get used to it" quite a bit before I decided it was right).
I should perhaps mention again, too, that these South Mountain Sketchbook pieces are just that -- quick sketches... intended more like chalk drawings than fully developed pieces.
Perhaps one day I'll assemble them all together into a loose "suite"...
Subtlety to frenzy... lol -- I like that, jsp2... a reflection of life, I guess!Originally Posted by jsp2
South Mountain is an older work that I did on an Emu Virtuoso box (since retired -- it drove me nuts), not GPO -- though I hope to re-record this in GPO sometime next year. (My current system can't handle it.)
Out in the woods of South Mountain is where I live -- hence, the inspiration for that piece -- and many others I've written since, in the South Mountain Sketchbook series.
I often sketch pieces sitting on a stone outcrop out in these woods. Ruminations On Providence is such a piece, outlined whilst pondering imponderables below a recent full moon.
I just loved the piano in this. It sounds so peaceful and natural. Your motives are always so interesting, and it sounds modern without trying to alienate a regular listener. And it has a complexity that comes across as carefree and full of life. I love your music very much!