Just breathtaking David.
This is extraordinary writing. You never cease to amaze.
In humbled awe,
Gary Garritan
Just breathtaking David.
This is extraordinary writing. You never cease to amaze.
In humbled awe,
Gary Garritan
I've had the privilege of hearing some of Einojuhani Rautavaara'sOriginally Posted by Pingu
fine work, though not a great deal of it, I confess.
Virtually all of the piece is done with GPO. Toward the end, the
JABB trumpet is used for some of the very difficult high-range
passages. The score on www.DavidSosnowski.com is the exact
one used for rendering.
Thank you, Pingu, for your enthusiastic reception of the piece!
My best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
William was kind enough to listen to early versions
of this piece, and was most encouraging; for which
I thank him. Listening to early drafts is an unrewarding
experience.
Catch up with you later in the thread, William!
My best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
Rofl! You whacked straight into my sense of humor with that
comment, Ray. You have no idea how many times I said that
to myself as I was writing this.
Thank you for the kind words, Ray. And you know, I think asI'm sure you already know by what, I do, that this is not my usual listening material but, that doesn't hinder my admiration and appreciation of this and all your labours of love. It is inspiring, I do listen and learn from the phrasing and instrumentation you've used throughout.
Thank you David,
Kind Regards
Ray
you grow more familiar with work like this, you'll find there's
a surprising array of shared elements between your more
usual listening and writing like this...
My best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
Good morning, David!
Well, I finally have had a chance to dig into this piece a bit. My first few attempts were sabotaged by interruption. I'm glad that when I returned to it, the score was up and ready, so it made me happy I had waited.
Well what to say? I've listened to it twice with the score now, and my brain feels like it's just starting to scratch the surface. There is a lot of deep-deep material here, and I feel like anything I say does not quite do that justice.
First, as a comparison to the other two works that were written at this time, I find this to be the most challenging (for performer and listener alike). It feels larger, and covers more emotional territory. There are some absolutely stunning moments here, as well as terrifying, tender, confusing, and exhilarating moments.
One thing that I absolutely love about your work is how you let two markedly different textures converge, collide, and explode into each other. It takes the idea of counterpoint, distills its essence, and smashes it down onto the page so starkly and unapologetically, that the individual gestures appear all the more bold and unstoppable. In this piece, I see it as colliding galaxies.
The opening of Discourse is very romantic. Some of the harmonies remind me perhaps of Tristan und Isolde, though only in passing. Amazing textures and orchestration throughout, much more daring with your instrumentalists than I would venture! String writing was lush and moving. The piano sent shivers up my spine.
Last comment... I think you are getting better and better with your realizations. Most of this was absolutely convincing.
Thank you for sharing this, David. You're absolutely my favorite composer here, and I believe you are writing some very important music that needs to be heard by a larger audience.
- Jamie Kowalski
All Hands Music - Kowalski on the web
The Ear Is Always Correct - Writings on composition
Wow David, I think this is my favorite of yours yet.
I'll have to listen a few more times to get a sense of the structure, but I thought it built very well and "stuck together" right up until the very end.
I have mentioned before that you I enjoy the "crispness" and vitality of your writing. It always seems very clean and fresh and *economical* -- I never have the sense that it is over-orchestrated or that there is anything extranneous or out of place. This time you contrasted the crisp quality with some moments that sound positively lush and almost romantic. It's a very interesting combination and you balance the two well -- kind of like a rich meal with something crunchy and sweet for dessert (does that make sense)?. The piece is very cohesive and has a feeling of being at play -- I hear a grand sense of joy coming through, like the laughter of the cosmos -- am I hearing correctly?
I am especially impressed by your ability to incorporate the piano into the texture. I don't tend to include a piano in my orchestras because, frankly, I don't usually like the sound of it--most composers don't know how to use a piano in an orchestral texture, except perhaps as a soloist. You are certainly an exception to this (Jamie deserves a nod as well). The way you use the piano I'd almost be convinced it's part of the woodwind section! There were times--and I say this with reservations--that I felt a little Gershwin coming through... I don't mean that it *sounded* like Gershwin, but I felt at times that the piano played a similar "tag-you're-it" sort of role in the orchestra.
Random question: what do you do for a living? I find it amazing how you manage to consistently put out these well-wrought, large-scale orchestra works on such a regular basis! I'm lucky if I can find a few hours a week to compose in between work, rehearsal, and family commitments--my output has dropped considerably ever since I left grad school and joined the working world. Do you mind my asking how much time you spend working on a piece like this, and when/where/how you manage it?
Anyway, keep up the good work and please send these scores out to some orchestras!
chris.
Wow!! How do you do that? The intensity and expressivness! You must have felt so good after expressing yourself like that. I agree with the guy playing the Lakota flute, Stephen, that this needs to be heard outside these smaller circles. Enough said and thanks for sharing!
(Stephen, if you happen reading this, you must know Kevin Lock-great guy!)
Del
Thanks for the listen and the good word, Jerry. I don't
know that I'd suggest my orchestration as an example
necessarily,though; it's a bit unconventional.
Three listens! My thanks, Jerry. Though I think many
modern works wear better on subsequent passes than
when you first slip them on. It's kind of like breaking
in a pair of sneakers.
Seems like we've got the same weather you have, last
few days!
Always my best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
I appreciate the listen, and the kinds words, my friend.
The comment about "no unsureness" made me chuckle. Like most
writers, I suffer that every time I place a note. However, in the
end, my do-it-or-die attitude takes over: If you're going to take
a shot at writing a piece like this, Jeff?
Go for broke!
And quick, well, no. This piece was begun last April sometime;
no speed records, there!
All my best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
ROFL! Good for you, Dan! Honest is honest.I'm with Ray, I don't get it either.
Whew!
Dan
I've heard more than a few pieces over the years that
I just plain did not "get", myself! Some of them are
widely reputed to be great art, too; and probably they
are -- but for me, they just didn't penetrate, I guess.
Thank you, my friend, for taking time to listen, anyway;
I appreciate it, Dan.
Always my best,
David
www.DavidSosnowski.com
Related Pieces:
The Emergence of Time
The Realization of Light
.
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