Last edited by Michael A. Wiktor; 03-04-2008 at 12:21 AM. Reason: SCORE Update
Where am I ...?
Oh... Yes, it's the mysterious lady in black standing by the harbour, who drove there all by herself.
The dramatic tension is accentuated by the rhythmic brass of Mr. Michael A. Wiktor!
We don't know this woman's motives. And why did she suddenly jump in the dark waters?
But we know for sure that her name was Kim Novak and that she was saved by our hero... James Stewart!
Yes, this music is from the time when moviemakers and composers still cared about catching the right feeling at the right moment!
This was my vision when I heard your freshly composed "Keepsake."
I agree that the opening has a movie score-like feel to it. That is meant as a compliment. Later, it seems to move away from that into a more agitated, less descriptive passage. Really liked the constant change in character(s), and the flow from lyrical to aggressive - you handle those transitions very nicely. Is this to be part of concerto for piano? Actually, it doesn't have to be a part of anything - it stands very solidly on its own.
Enjoyed this a lot!
I have been waiting for this one for quite a while and I am not diappointed.
Although this is still very tonally centered, in some spots you take more chances then usual and I really like that side. Instead of letting the music go where everyone expects, you have a little jaunt into the darker side.
The rendering is great. Just the right amounts of reverb and dry/wet.
I am starting to get very busy in school in again, so PM me when you are done tweaking so I can hear the final version.
Don't make us wait so long for the next one.
Absolutey super orchestration and composition.
I would have loved to hear it "ALL GARRITAN" just
for comparisons sake. The libraries you used sound
excellent, but I always wonder what an orchestration
would sound like with all Garritan instruments as that
is all I use presently.
Great work here, Michael
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.
Thank you very much fredrik for your fantastically vivid and imaginative review!
The Golden age?! Well, thank you. I do understand your point but I do try to avoid sounding like a movie soundtrack - you know, all techniques and FX - not a bit of substance ... excluding a few well known modern composers that come to mind.Yes, this music is from the time when movie makers and composers still cared about catching the right feeling at the right moment!
Well thank you again for sharing you vision and especially taking the time to download, listen, and review! Much appreciated!This was my vision when I heard your freshly composed "Keepsake."
Here is a review by Pat Harris of the music in Hitchcook's "Vertigo", composed by Bernard Herrman:
The score for 'Vertigo' is an out-and-out masterpiece. This was the first Hitchcock film I ever saw, and consequently the first Herrmann score I ever heard, and the impact (even during the Paramount logo before the actual credits!) is tremendous. The unresolved arpeggios and minor-key blasts of brass are both riveting and frightening, perfectly setting up the obsessive descent of the film's protagonist. The whole score revolves around a powerful love theme (heard most fully in the 'Scene d'Amour'), various shades of which would color all the romantic material Herrmann would pen for the rest of his career.
The music does not at all sound like the music of today's overdecorated film music... no effects were used at all, in fact! Only orchestra
Bernard Herrman died in his sleep shortly after completing the recording sessions for his score of Taxi driver in 1975.
I really recommend you to see "Vertigo"...! It's a masterpiece with masterly composed music like yours!
This is a rare treat indeed,--music from Michael Wiktor--Far too rare an event.
mmMMMmmmm---In a word, I "Love" it. Yes yes, an enthusiastic second to what others have said about the piece's cinematic textures, its Hitchcockian (Herrmannesque) feel.
You know me - when something is full of drama, I tend to take notice. The dramatic moods and swirls of contrasting passages is thoroughly entertaining.
Superb, Michael--Thanks for letting us hear!
I tried listening to this late last night but realized it requires more than a casual listen. So now I've listened to it three times but I still probably have missed things. It moves right along and covers some territory.
I'm always amazed at how someone can compose something like this.
It does sound like you put everything into it and so much is here.
It's plainly great music.
Thank you very much for the listen and taking the time to write a review.
And I take it as such! Thank you! ... In my early 20's I was very heavily influenced by movie composers. It is what I believe introduced me to more serious classical forms. - I guess I can't "shake" my first inspiration ...I agree that the opening has a movie score-like feel to it. That is meant as a compliment.
Yes, later on there is a very fast paced 3/4 passage that I wanted to accent not just the "1" of every beat but especially the "2", to give it an irritable or maybe slightly unpredictable "punch" here and there.Later, it seems to move away from that into a more agitated, less descriptive passage. Really liked the constant change in character(s), and the flow from lyrical to aggressive - you handle those transitions very nicely.
No, I am not a big fan of soloing instrument music - I wanted the piano to take a multifaceted role; sometimes being the "star" and then later taking a back seat to just give support for other instruments.Is this to be part of concerto for piano? Actually, it doesn't have to be a part of anything - it stands very solidly on its own.
Thanks again Ron, I really appreciate the comments and questions.