WOMAN OF WINDSWEPT YEARS - Symphony Orchestra (Sosnowski)

[etLux]

Hi again David

The 'as writ' bit was the problem - for some reason, on the pdf score both clefs appear superimposed on each other in the left hand stave at the end of bar 79. Then there's no further bass clef before bar 83, which I assume is in bass clef. Possibly the bass clef that was meant to be at the end of bar 81 has wandered over to 79? As you say though, perfectly playable (unlike, as it turns out, some of my own piano writing).

Looking forward to your next piece.

Best

David

Wow! Pingu, I most definitely OWE you one on that!

How on earth did I miss that? I literally go over score
with a magnifying glass... no kidding. Thank you, thank you!

That's one of those bizarre quirks that Finale once in
a while coughs up on clef changes. Easy to fix; but I
really should not have missed that.

I will correct the score as soon as I can get to it.

Thanks again on this, Pingu.

My best,



David
www.DavidSosnowski.com
.

[etLux]

Hi David,

No, this was not meant to be tongue in cheek.

It is hard to describe the effect this had, but it was very strong. It washed away a lot of mental stress. I can't even explain why it had this effect, but somehow it left a strong feeling of satiation, like many issues were no longer relevant or meaningful.

And I don't mean it was soothing - it somehow had the right balance of calming and disruption.

As I said, it is hard to put it into words. Hence I used the word cleansing.

Alan,

Thank you so much for this comment. That the piece would
have such an apparently profound effect on you... gosh, I
just don't know quite what to say.

Certainly that's what I work to do -- to really reach a listener
like that; and I deeply appreciate your notes on this.

With best regards,


David
www.DavidSosnowski.com
.

[etLux]

I love listening to your compositions, David. "Woman of Windswept Years" is no exception.

Your skill in expressing your gifted musical imagination is evident in this and all of your compositions. I love the style of your compositions. And, like other, learn. I listen, appreciate, enjoy and learn.

Thank you. . . again. . . for sharing your music.

Most admiringly,

Ted

Hey, Ted! I'm very pleased you came by to listen to this one.

Thank you, my friend. I appreciate your generous comments
and kind words a great deal.

I do hope we'll be hearing more music from you, soon, too!

Always my best,




David
www.DavidSosnowski.com
.

[RichR]

David, I am really sorry that I missed this one last month. I have been busy at work on my composition and really have not listened here in the forum duing May. My apologies for being so late with these comments!

David, you have a way with taking a title and coaxing much emotion and a sense of relationship to it with your musical prowess. The title itself conjures up a specific mental image. The phrase itself has a beginning, middle and end as if each word was meticulously picked out. How do you do that!

And to added beauty to intelligents, The music carries out the exact same thing. In this work I hear the delicateness of a woman, the experience of someone who has matured, and the timultuos forces she has encountered through those years. There is power to your writing, but in this piece it is delicately controlled.

Just the opening cello line that moves up a fourth to start the piece and echoed throughout the opening section. So, simple yet powerful. The solo lines that intertwine (as branches in the wind), so aurally descriptive.

And as per your comments to my recent piece, it is obvious the harmonic structure, such as it is in this piece, was completely influenced and dictated by your choice of melodic line. All in all, a great listen and worth listening to over and over again. Thanks for allowing us a view into your musical soul. It is certainly a rich one!

[Matthew S Phillips]

Hi David,

I am sure that at this point you don't need my voice added to the adulation and praise of this work, but I must say how much I enjoyed it. It is subtle, moving, and complex in a way that is rarely heard.

Bravo.
Matthew

[etLux]

Hi David,

I am sure that at this point you don't need my voice added to the adulation and praise of this work, but I must say how much I enjoyed it. It is subtle, moving, and complex in a way that is rarely heard.

Bravo.
Matthew

Hey, Matthew; thank you for listening; and I appreciate the
comments.

And every comment is important to me... it helps me to
"calibrate" the writing in some regards, Matthew. For instance,
I know your pieces and a little about your musical sensibilities --
and what you hear in one of my pieces (or even if you simply
mention liking it), that tells me something about the kinds of
listeners I'm reaching well.

Thanks again, Matthew...

My best,



David
www.DavidSosnowski.com
.

[etLux]

Hi Richard,

Glad you made it by for a listen, my friend.

David, I am really sorry that I missed this one last month. I have been busy at work on my composition and really have not listened here in the forum duing May. My apologies for being so late with these comments!

Oh, certainly no apologies, Richard! It's impossible for any but a
crazy person to keep up with all the music here... lol.

David, you have a way with taking a title and coaxing much emotion and a sense of relationship to it with your musical prowess. The title itself conjures up a specific mental image. The phrase itself has a beginning, middle and end as if each word was meticulously picked out. How do you do that!

Carefully. No kidding. And, I'm afraid, a bit painfully.

While writing a piece, I have very, very clear arrays of concepts
involved, the "subject matter" of the piece. But usually these
things are very difficult to frame in words. I'll often ponder for
several days, working over various titles, until I hit upon one that
feels like it encapsulates the spirit and content of the work as
best as possible.

I'd be the first to proclaim that music should speak for itself; but
I do think choosing a title that sets the stage well is worthwhile
effort.

And to added beauty to intelligents, The music carries out the exact same thing. In this work I hear the delicateness of a woman, the experience of someone who has matured, and the timultuos forces she has encountered through those years. There is power to your writing, but in this piece it is delicately controlled.

Just the opening cello line that moves up a fourth to start the piece and echoed throughout the opening section. So, simple yet powerful. The solo lines that intertwine (as branches in the wind), so aurally descriptive.

I think you know by now, Richard, that what people hear in a
piece always fascinates me... that somehow the intentions of
the composer reach through, often enhanced by the filters of
the listener's experience.

Thank you for this; many of my thoughts are in it; and I appreciate
the generous comments.

And as per your comments to my recent piece, it is obvious the harmonic structure, such as it is in this piece, was completely influenced and dictated by your choice of melodic line. All in all, a great listen and worth listening to over and over again. Thanks for allowing us a view into your musical soul. It is certainly a rich one!

Thanks so much, Richard. And yes... line is always the driving
force with me.

All my best,



David
www.DavidSosnowski.com
.

[CallMeZoot]

Absolutely lovely, David.

I tend to be skeptical of lush, romantic music coming out of a 21st century composer, but you have a way of incorporating twinges of romanticism into your sound very naturally, without the excesses or melodrama that often come with it. Your sound is as fresh and clean as always, although this time it's more "savory" than "crisp," which is how I usually describe your music. It's more like a juicy peach than a dried leaf. It's a nice, subtle change of pace for you. Hmm, I should pick up some peaches on the way home.

Sometimes the high woodwinds give me a Turangalila sort of vibe -- I'd be curious to hear this done with an ondes martenot or a theremin or something. But that's a ridiculous idea so pay no attention to it.

This reminds me of Discourse of Stars in that it seems to just stand there, swirling proudly in its grandeur. It doesn't try to push or pull, or drag you along for a ride. It's not linear or 2-dimensional -- it's more like a sculpture than a painting. I feel like I'm walking through a sculpture garden and looking at everything at my own pace, from this angle and that--as opposed to a lot of music which is more like watching a movie from start to finish (not that this is inherently worse, it's just another way of structuring music).

Very nice, I'm going to listen to it again now.

chris.

[daerp@mac.com]

I read, with interest the comments of others in this thread. Your pieces tend to elicit many comments as you are one of the most faithful listeners and commentators on others works. I loved the comments by Call Me Zoot and echo them with enthusiasm.

You seem to get the most out of the instrumentation of the GPO and, yes, the trademark Sosnowski moments are there, beautifully handled. You use the percussion and the piano in such tasteful and perfectly timed ways.

I've only listened once at this stage and will try to listen again over the next couple of days.

Congratulations.

Paul

[etLux]

Hi Paul,

Good to see you around town again!

I read, with interest the comments of others in this thread. Your pieces tend to elicit many comments as you are one of the most faithful listeners and commentators on others works.

Yes, they're all pretty nice to the old fossil who hides in the woods... lol.
I think they know I appreciate the company.

I loved the comments by Call Me Zoot and echo them with enthusiasm.

Me, too! I think I may hire Chris as my publicist. Seriously, thank you for
the kind thoughts, Paul.

You seem to get the most out of the instrumentation of the GPO and, yes, the trademark Sosnowski moments are there, beautifully handled. You use the percussion and the piano in such tasteful and perfectly timed ways.

I've got the applications in for legal trademark on those, yes, Paul... lol.
As I think I said earlier, though, one of these days I'm going to sit down to
write something that sounds like me, and I'll have no idea how to do that.
Some say I have a very identifiable style; but I'm not quite sure how that
comes to pass. I don't think about it. It just... comes out that way.

The piano and percussion, both, I do tend to treat sparingly (the garlic
principle); though I did give the pianist at least a little work to do.
Thanks for noticing the care I put into keeping those noisy fellows from
getting too rambunctious.

I've only listened once at this stage and will try to listen again over the next couple of days.

Congratulations.

Paul

Many thanks, Paul; I appreciate your listening and your comments.

Hey, don't be a stranger, my friend!

My best,



David
www.DavidSosnowski.com
.