THE MIRACLE - Symphony Orchestra (Sosnowski)

[etLux]

Hi David, just me again...........

"There are only two ways to live your life. One
is as though nothing is a miracle. The other is
as though everything is a miracle." --Albert Einstein

I have suddenly noticed this Einstein quote at the bottom of your original posting! And I just finished reading a bio of him!! Methinks him the most remarkable man in history.

Best regards,
sd cisco

Einstein was also remarkably human... a fact
oft overlooked in the face of his achievements.

The title of this piece, by the way, has less lofty
provenance than the quotation.

The fact is, this piece was broken from the start
(sour material reaps poor results). I revised it
and tinkered with it and fiddled with it a good
three dozen times, and probably only succeeded
in making it worse than better.

Hence the title... it's a miracle it ever got done.

Best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

Hi Nikolas,

I'll start differently than most of my posts...

I'm a part of various other music forums and the general consent is that GPO is rather bad! I have fought, dissagreed, almost flamed other people about this and about their awful manners (Dan may remember one occasion), but in vail.

I am who I am, I know what I know (All I know is I know nothing - Socrates ), but the fact remains that some of the instruments in this recording are very fine! The flute and the clarinet are both most excellent!

I've always thought many of the woodwinds in
GPO were particularly good.

As for what others think of GPO, I've never taken
much stock in that. The criticisms too often come
from those who never took the time to learn their
craft in general, let alone learn to use GPO well.

and I just wanted to let this out of my heart, cause the flute is very prominent in this Miracle!

The Miracle of music is a gift to us all, regardless of being musicians, the audience, or anything in between: I had some piano tuitions today, to two sisters (both very lovely and daughters of a dear friend), but one was sick, so I could only have lesson with one. Thus I decided to spend my time discussion Bach! They don't fancy Bach, but I hope I've made them realise the nature of Bach and the value his music holds. For all of us. For the pianist, for the composer, for the musicologist and for the audience.

This Miracle by David is one of the occasions I want to share it with other people! The style and voice has come to be settled for me as those of etlux. People some times look at me weird, when I speak of names like etlux, skysaw and what not, but I can't help it!

The development is there, in Miracle regardless of how short it is. The melodies are lengthier than in other pieces, I think, and the orchestration lends itself to more tender places.

I love it David. Thank you for your music.

(On a side note, I have to report that I recently made a few CDs, for the car, from music coming from the Internet, from free sources, like this one. Maybe I should've bought the CDs by David (just noticed they are on sale, the 4th Symphony for example), but it remains a companion when I drive, from people I know and value).

For the record, Nikolas, I do not mind at all that
people create their own CD's of my material. Go
to it. Have a blast. Pass 'em around to friends.

I absolutely do strictly retain and if necessary
defend commercial rights and copyright -- but
personal use? Heck, that's why I put the music
out there -- so people can listen. What difference
if they listen on my website or their iPod or
whatever?

Nikolas, thank you always for your ever
generous support, my friend, even if I personally
think this piece is something of a stinker... rofl!

All the best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

You know, yeah, it's all very beautiful... but those leaves aren't going to rake themselves.

Thanks, Michel, but surely you've heard of... wind?

My best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

Hi, David.

What a beautiful way to start my working day today with a Miracle of this kind!

As you know from previuos pms of mine, you are one of my favourite contemporary composers. Bravo.

I seldom see contributions from this guy, Einstein, on this forum, but I totally agree with him.

Have a nice day

Many thanks for your kindness, Fabio!

Though, if Einstein might want to take this one
off my hands, I wouldn't mind.

Best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

But where do you find this ridiculous nonsense? I guess on forums where people have spent a lot more on their sample libraries. You should keep three things in mind

1. Quality is a tricky criterium. You can spend $15000 on the VSL, and still feel something is missing. GPO is 1% of that price, but offers much more than 1% of its performance.
2. Cognitive dissonance. People are very, very good at denying facts when accepting them would make them feel bad, i.c., if you've just spent a big wad of cash on your sample library, you're not going to accept that something much cheaper can sound good too. And of course, we are not going to accept criticism on the thing we like either
3. It takes effort to get your sample library to work. My first attempts with GPO were somewhat disappointing, but I am quite happy with my recent attempt at the Parsifal Overture. I've also heard very, very bad renderings using East-West. Does that make it a bad library? No, because there are excellent productions with it as well, so it cannot be inherently bad.

But it's of little use trying to preach to the deaf. Don't pay too much attention of a few loud mouthed embittered wannabe Stockhausens. Try to hear the music instead of a perfectly sampled flutter-tongue sfz glissando.

And music we've got, but I don't have to tell you that...

All true enough, Theo, in spades. I've probably said
a dozen times elsewhere that giving a man a golden
hammer does not suddenly make him an expert
carpenter. Certainly good tools are essential; but
it is the skill of the hands that use them that counts
most.

Best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

Very cool, Mr. David!

Hey, where is Ern? After his come back here the thread "delete this" was down, but this had nothing to do with him..., it was a server problem.

Best,

Gunther

Thanks for listening, Gunny!

My best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

David,

An impressive work!

To me it felt like a scene of battle.

Battle cries are heard and the contradictory forces
are raising and lowering their voices in succession,
until weapons are laid down and peace reigns again…

Excellent use of instruments and fine detail work!

~Yudit~

Thanks for the kind thoughts, Yudit.

If you saw the mountain of leaves in my yard
this year, you'd know what the battle's about.

The leaves are winning, by the way.

Best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

Hi Ron,

David,

You always seem to be at your best in reflective, autumnal works; maybe I should say those are your works I like best!. Well, count this as one of them. Beautifully paced, and spaced - orchestrally; the tension is given such warm resolution(s), it calls out for repeated listenings. A haunting and wistful work in a vein that you have captured for your own. Thanks for that.

Thank you, my friend, for your kind reception of
this piece.

As I've said earlier and often, I just plain don't
like this one... lol. But I may have to cave in
and accept that there might be a few good
moments in it...

And, contrary to what Michel stated, those leaves will rake themselves: just need a good wind, and no fence between your house and the neighbor's...
Works like a charm.

The wind I got. And, uh, well, I admit it... in
the wee hours of the morning, I go out and
unhook the fence wire and drop that fence
next door... lol.

My best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

David:

A beautiful piece of music. I was really taken by what I call the
"nocturnal experience" as I listened. The "just-the-right-amount"
of reverb and the flowing melody supported by the very smooth
strings captured my attention the most. Yes, all was rendered
very well........especially the percussion. Don't know how you got
the brass slides in a notation program, but would like to know. Haven't
used Finale much, but all programs are interesting to me.

Just a great 5 plus minutes of great music. Certainly gives one a
feeling of Autumn in that the music is not too excited.....just a
calm, "toward-the-end" of a Season feeling. Autumn is that way......
mostly calm as the leaves change with mostly a serene quietness both day
and nite, but the beauty of the Season with the leaves changing
is breathtaking as is your programme piece.

That long major chord at the end was a real treat...........lol

BRAVO,

Jack

Gosh, Jack, I don't know quite what to say.
You hear all that good stuff in there?

I must really have a deaf spot for this one.
But thank you, my friend, I'm pleased you
enjoyed the piece.

As for the brass, I often use a Jazz trick,
what I think you're referring to as "slides".

Let's say I've got two horn players, one on
an A, the other on a B, and that the A is
the resolution tone. I'll have the fellow playing
the B gradually back off it, while the guy doing
the A brings up the volume a little.

All the best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[etLux]

Hi David,

As usual, this is a strong offering and a little different for you. It of course will go on my Greatest Hits of David Sonowski CD. I especially liked the playful mood swings and the hints of chordal structure. Your linear quality of thinking still alows for the traditional chord sense even (if I may be so bold) though I don't believe you write with that structure in mind. I am in agreement with Rhap that the long major chord at the end was a wonderful sumation.

Congratualtions Ludwig von Sosnowski
A five applause rating!

best regards,
Bill

Hi Bill,

We always get into a degree of theoretical wrangling,
Bill -- which I absolutely thoroughly enjoy, by the way.

Yes, I think in line. Always. The idea of a "chord" never
really crosses my mind. But you know, it's not at all
incompatible with chordal thinking... in that the chordal
structures arise naturally from line.

It's really not some sort of radically new and different
approach -- not at all -- but, rather, looking at things
from a somewhat different perspective.

In truth, line and harmony are integrally bound together.
Most traditional views imply that line arises from the
chordal undercarriage -- and it certainly can and does;
but the obverse view is equally valid. Rip apart any
chordal structure and, at least if the voice-leading
is decent, what do you find?

Many thanks for the kind words on the piece!

All my best,



David
-----
David Sosnowski
www.DavidSosnowski.com