PERSISTENCE OF VISION - Symphony Orchestra (Sosnowski)

[etLux]

You might call it jazz, but to me it's a pretty decent symphonic poem, a cross-over between Bartok and 20th century American, sort of Gershwin at a riper age. And it sounds convincing. I agree with what Carl Hanssen above wrote. The use/development of the melodic cell is admirable, and the rhythm feels indeed native to the piece, and the whole is concise. My compliments.

I agree, Theo -- it'd be a stretch to call this Jazz. (I've since
removed that reference from my site.) But, as I said earlier,
in that people call anything they can't classify otherwize, Jazz --
I thought perhaps it might attract a little more audience in the
general market. I'm experimenting a little with CDBaby digital
distribution, too, so I though it might get a little more exposure
in that category on the digital distribution sites to which they
submit.

Many thanks for the kind comments on the piece!

All the best,



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

[germancomponist]

What a cool writing, David!

[etLux]

David,

that IS a cracker,

regards


Barrie

Hi Barrie!

I'm quite pleased that I succeeded in luring you out of seclusion, my friend.

Many thanks for the "cracker" -- much appreciated.

All my best,



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

[etLux]

Hi Raymond,

Is it beautiful? No, it is beyond that. Suprisingly simple but with a lot of contents, melodic outbreaks and superb orchestration. A week has seven days, we all know the names of the days; I personally think we must add another one: the eighth day - Sosnowski Day to open his website and go over all his presented compositions.

I'm speechless at the extravagance of your comments,
my friend. Thank you so much!

This is really a talented composer, not just by accidentally making one very good compostion, but all his work belongs to the highest ranks.

Oh, truth be told, I've got my share of clinkers, Raymond.
I generally keep them in the bottom left drawer of the desk,
though... lol.

All my best,



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

[englishgent]

Love it! Love it! Man, this one needs to be performed live. I hope that happens some day. And hope it's close to here so I can go and hear it!

I would say that you've succeeded in the Thinning Out department. I saw the score first and thought it looked very thin, then started listening and wow! did it work! Everything shines through beautifully.

Thanks for sharing this with us.
Regards
Owen

[etLux]

Hello Fabio,

Maestro,

once again when I want to listen to a fine piece
of non-obvious contemporary music
I go for the Listening Room and David Sosnowski's.

Thank you, Fabio. Beyond the fact that it's recently
written, I sometimes wonder if what I write might really
be called "contemporary". All of the techniques of the
writing are as old as the hills. But perhaps some things
never really change.

Your compositions and Stuart Clark's "The Sun Kings"
are two among the best ways to fall in love with astrophysics.

Bravo.

I appreciate being put in such good company. Physics,
in the end, is not science, at least not in the popular
conception of what science should be. Rather, it is
an interpretation of the cosmos; in large degree, a set
of beliefs; and as such, it is a rich tapestry from which
to draw inspiration.

All the best,



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

[etLux]

Hi Ron,

David,

Apologies for taking so long to listen and reply. I can only echo the bravos that have been posted.

Fortunately, music spoils less rapidly than halibut... lol. I'm
pleased you made it by for a listen, Ron.

This has many of your hallmark features: motivic conciseness, rhythmic drive (without monotony), and the use of the solo trumpet - almost your signature orchestration, yes?

I'm sure my stylistic hallmarks are there; as unavoidable
as one's own fingerprints. I'd posit that the orchestration
as a whole, though, is much leaner than my usual.

This piece is so thorough in its examination of the opening motif, and so surely driven forward, there is never an unnecessary note. It is the marriage of the mind, with its logical organization, and the heart, as this is a very beautiful and moving work.

Thank you for the kind word, Ron. Much of the point
of the piece (technically, that is) was "leaning out the mix"
-- not just the orchestration, but also the raw materials
and the use of them.

Superbly done. It always seems that what you post can't possibly be topped, yet you do this repeatedly: each successive piece reveals another layer of inspiration.

Not to worry, as I was saying to Raymond earlier, I've got
my share of clinkers, too (gracefully retired to the bottom of
a drawer).

But to the kindness of your comment... I stopped "writing
just to write" a very long time ago. For me, each piece
needs both new terrain technically and the solid underpinning
of something worth saying as prerequisites for being born
at all.

Now, get back to the Delete This thread - from what I gather, you have a lot to do with keeping it afloat. We're counting on you...

It's a dirty job, but someone's got to do it.

Always my best,



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

[fabiolcati]

Hi David.
I agree on every single word of your reply.
As other fellows stated here, I wish to hear
your works live on stage: dreaming of this
happening in an Italian theatre, possibily
in Milan. Someday...

[etLux]

Hi Frank,

Hi David,

I simply cannot pigeon-hole this piece so I won't! It has so many different styles and you have creatively painted this really interesting music; I loved it ... it was very original. I loved that high trumpet note that rings over the whole ensemble (about half-way, and again at the end). The way you thinned whatever was around them to let them speak so clearly ... tre cool! What with the splashes of low brass harmony and the restrained, sporadic percussion, I got a little Marius Constant vibe from the second half. I really enjoyed this and thanks for sharing your score with us.

Regards,

Frank

Many thanks for the listen and the kind comments, Frank.

Marius Constant -- wasn't he the fellow who did the
Twilight Zone theme...? I believe he was another of the
many students of Nadia Boulanger -- great company
in which to be placed!

All the best,



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

[etLux]

Hey there David,

Wonderful! I really, truly enjoyed this one! I love how you developed the motif and used it throughout. You've done a great job opposing a pensive feel with something that has a bit more tension.

Thanks for listening, Michael. I suppose I could wisecrack
that the piece is one long suspension... lol -- more than a
little true.

Ah, and the percussion! I mustn't forget to mention that! I truly loved your use of percussion, not only as added color, but also as a way to keep the music moving forward, and in some cases, taking center stage (as it should be!)

I'm pleased you liked it -- percussion has always been a
weak suit for me; and I've been working diligently at making
better use of it. Especially in a piece like this that is so
thinly orchestrated, it is, as you say, crucial to keeping
forward motion.

Thanks for posting, I really enjoyed it!

All the best,



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