Wow David... This is really some outstanding writing. I love how it constantly bounces back and forth between suspense, manic, gentle, and whatnot in a very interesting manner. Towards the last third there is some very virtuostic piano writing/playing! Ahh the wonders of errorless sequencingBut it all sounds very natural. Especially the tempo changes. Very realistic and "conducted." All-around outstanding job on this, it's certainly something I'd love to hear played by a real orchestra!
L E I F C H A P P E L L E
c o m p o s e r
Ah! My interpreter has arrived!
Thank heavens, Joaz, I'm so glad you're here -- I've been trying to figure this piece out since I started it... lol.
Back in the day, I wasn't a half-bad pianist, so it does influence the way I use and write for the instrument. But more to the point compositionally, in an orchestral piece like this I view the piano as having a split purpose and personality -- in places, it's just a member of the band; but in other places I bring it out for some serious showboating... rather after the manner of many Jazz performances, overall.Originally Posted by joaz
Compositionally, it was also irresistible to me to use its dual nature as a spanning and unifying device, subtly introducing permutations of the thematic material throughout the piece.
I've said previously that of all the strings, the violas are those I love the most -- violas are the most unjustly underused instruments in the entire orchestra.As usual your wind writing is superb, but what really piqued my interest was the fantastic lyrical string writing. Especially for the Violas.After all the Viola bashing that has gone on around here lately, who would have suspected Sosnowski of being a sympathiser.
This is a sound I havent heard from you before. A full blooded modern/romantic string section with swooping melodies spreading contageously through the sections.Really delightful.
Actually, this is a key point (including the Bronx cheer). Traditionally a composer approaching a piece like this would essentially seek to describe the circumstances he is observing, the dialogue and interplay between the two characters, Lucifer and Gandhi.Poetic music like this,is needless to say, open to many interpretations, but I wonder if we hear the protesting voice of the composer himself, in the final bars.
Gandhi's methods of resolving disputes are not very fashionable at the moment, amongst the powerful. Could the bronx cheer finale be the composer's comment on contemporary methods of resolution.???
That's not the approach in this piece.
This is me talking, I'm telling you what I think about what's going on, as I watch Lucifer and Gandhi, first circling, then dicussing, and finally in heated confrontation.
Abrasive it is, intentionally so in places; and sweetly cajoling or didactically discoursive or wildly combative in others... just stick these guys together in your head and let them go at it -- it's at once a compositional minefield and a creative goldmine...Though the surface of this music can be a little abrasive, I think this piece ranks along your Catherine in Winter (My all-time Forum favourite and opposite sound world to this piece.) as your best work.
There are many notes involved, and yet none seem extraneous, or gratuitous. No mean feat.
All-in-all David ,this piece is a fantastic achievement.And I doff my hat to you.
regards Joe
In any event, I've rambled far too lengthily... Joaz, as always, thank you so much for your incredible acuity and kindness -- and a lucid understanding of my own work that ever and always supersedes my own.
All my best,
David.
.
David,
This has been a very productive period for you - and we benefit greatly by it! Another fascinating work, full of rich details that require/demand repeated listening. I was intrigued by the Lucifer music, in that it had great motor energy, and while perhaps manic, didn't always seem malevolent. It reminds me of Martin Luther's great reply when he was criticized for using profane songs and fitting sacred lyrics to them: "Why should the Devil get all the good tunes?" Perhaps here Lucifer has some admirable musical qualities? Certainly makes him seductive...
Sorry for the meander into Theology, but the piece gets one thinking - in a good way.
Fabulous realization. I would imagine that a pianist would love to tackle the part; there is plenty there to repay the work involved.
All the best,
Ron
Aw, damn... I went and put Josh to sleep again... lol.
Honest, Josh, I was really trying not to do that, this time.
David
.
Bravo Maestro Sosnowski!
This is a great work and you keep outdoing yourself.
The usual well-written intricate woodwinds, trombone slides (those are neat!), trumpet mute, meliflous horns, flute trills, you have it all. And the mix was outstanding.
You are inspiration to so many, not only in your helpful insights but in your compositions as well.
You got the title right. The enlightenment of Gandhi and the devil in the details.
Thanks for posting this.
Gary
Wow David!
That was spectacular! I can easily decifer the personality of both Lucifer and of Gandhi. This is a great work!! Thanks for sharing with us!
Steph
Thanks, Cata, I always value your opinions. I appreciate you stopping by to give this piece a listen, especially.
So far, I think I induced Larry to hide under the carpet with his fingers in his ears, so I'm not so sure about my inspirational abilities... lol.
And whilst writing this? I wasn't so sure if there was more madness than creativity. Even for me, this is a bit "out there" in a few places.
All my best,
David
.
Leif, I thank you for your generous comments, my friend. (I was listening again today to your excellent Metamorphosis for harp, by the way.)Wow David... This is really some outstanding writing. I love how it constantly bounces back and forth between suspense, manic, gentle, and whatnot in a very interesting manner. Towards the last third there is some very virtuostic piano writing/playing! Ahh the wonders of errorless sequencing
On the piano writing, I should note that I usually do actually play the more difficult passages, mostly to be sure I'm not writing something impossible and making a damned fool of myself... lol. But thank heaven, indeed, for post-editing -- considering I have rarely played since in my thirties, you can imagine the encrustation of rust on my fingers.
I should note, though, that when I write some of the more virtuosical passages, they're engineered as much as composed, and actually far easier than they sound or look.
I, too, would love to hear this one live -- but it's a demanding piece overall (not just the piano part), and I think most orchestras would find it a challenge.
My best,
David.
.
That's the thing, isn't it? It's a pity not enough orchestras are willing to take risks and learn new wonderful repertoire! The music of Bach, Beethoven, Mozart, is all beautiful stuff but honestly, it's been around for hundreds of years
L E I F C H A P P E L L E
c o m p o s e r
HOLY CRAP David!
man alive!
holy smokes,,,
geez louise !
great Scott, and who is Scott, and why is he so great?
This is an incredible display of GPO in all it's glory!
I feel like I have been to a fireworks display,
You are a monster!
This is absolutely awesome work.
I have not read any of the compliments, and have just finished listening to this. I am going back now to read what others ha ve said. I like to listen to these works before hearing any comments.
I love the pitch bends and the dynamix,
Man, very nice!
Dan
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