Thanks for reconsidering, Raymond, and posting something for the Festival after all.
This is quite a sustained piece - There's a kind of an austerity to the often sparse orchestration, with bursts of danger stirring up an otherwise quiet, sad mood. There's a tension in the results which give it a compelling drama.
It would be interesting to have an insight about your thinking during the time you composed this. Whether or not this was part of your conscious intention, I feel a complex sense of regret in the textures, more than just sadness.
Whenever you post music, I find your work of great interest - and perhaps because this is now freshest in my mind, I think it could be my favorite piece from you.
Maybe you could do us a favor? Could you let us know specifically what non-Garritan instruments you used? I know you're aware of the discussion we had in General Discussion before the Festival started, and one thing that was agreed upon is capsulized in the Sticky post, "...To avoid confusing our listeners, please list the specific names of any non-Garritan instruments included in a track..."
That info would be appreciated.
Thank you very much for joining in, Raymond. I was hoping you would - Now I'm happier.
I still had that LR area on line when your message arrived.
It is all EWQL SO Platinum+, notated it with Overture 4.5, rendered with SONAR and Altiverb settings.
It is auto-biographical.
My full name is: Raymond Alphonse Marie Robijns, so we have Re, A, Mi, Re. You can hear this several times in different settings. Because I played the piano at a very young age, you can recognize the "Alla Turca" by Mozart also.
Born at Amsterdam, during the bombardment of another city by mistake by the allies, 100 Km's distance, 1944 - februari 22. Some days later that "underground" news arrived in Amsterdam, therefore the initial screaming.
Later that year, november, there was a bombardment quite nearby, 1 km distance. The allied forces attacked the headquarters of the Dutch Collaborators and German Police, so another big burst of fear. Of all folks in the Netherlands, the inhabitants of Amsterdam suffered the most from the severe winter (1944-45) and the lack of food (many died of hunger and deseases). My parents had to go out, walking for miles and miles looking for food for the two baby's, my elder sister and me.
We survived apparently. Little Raymond survived and as in our dutch escutcheon says "Je maintiendrai" again all odds of life - I had my part of sorrows (premature death of my elder sister - car accident) / the birth of a mentally handicapped sister in 1952 (autistic), the illness of my grandson (quite severe and still a puzzle to the doctors), etc.
This piece was intended to be the first part of a new symphony, but right now I have to "study" music and at my age this isn't easy. So, why not call it Ouverture to a better future.
Wonderful post, Raymond - I appreciate you telling us this autobiographical story, and how it inspired your music. Some years ago you shared stories of WWII with us - horrible as it all was, these are the stories to keep alive.
And the footnote about the instruments and software used are also appreciated.
I also want to thank you for sharing the story as well. I take much interest in WWII history. I began learning about it at very young age. As soon as I am off of work I will listen to your composition.
I listened carefully your composition and really liked it.
Since I'm attending to the composition of a "biographical" piece dedicated to the life of my father, listening to your Overture was really helpful in catching the spirit of what a hard effort "speaking" about ourselves is.
Ps Your Altiverb sounds excellent.
Arrigo Beyle / Milanese / Lived, wrote, loved -- Stendhal
Being Italian is a full-time job -- B. Severgnini
I waited to hear this a second time before commenting on this piece,
during which time you posted the biographical background, Raymond.
And that context is important, I think, to the understanding of it.
My gosh, I hope you continue with your plan to develop a larger
symphonic work from here -- there's a great deal of real content in
this; bedrock solid writing and development, with moments of sheer
pathos, grave foreshadowing, and, at times, majestically inspiring
elevations befitting the courage of the times.
This is plainly some of your finest work, Raymond. Please continue!