Author Topic: jessop's compositions  (Read 24261 times)

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Online North Star

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Re: jessop's compositions
« Reply #260 on: October 12, 2018, 01:44:23 AM »
Welcome back!
"Everything has beauty, but not everyone sees it." - Confucius

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Offline shirime

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Re: jessop's compositions
« Reply #261 on: October 12, 2018, 02:14:10 PM »
Welcome back!

Thanks! I hope you enjoyed the piece. :)

Offline shirime

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Re: jessop's compositions
« Reply #262 on: October 12, 2018, 03:58:06 PM »
I've been listening to it again quite a few times this morning, and I'm very satisfied with how it is at this point in my development and understanding of music. It still feels quite fresh, young and naïve, so feedback would be greatly appreciated on how to 'mature' my style a bit more.

Online schnittkease

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Re: jessop's compositions
« Reply #263 on: October 12, 2018, 05:31:39 PM »
I've been listening to it again quite a few times this morning, and I'm very satisfied with how it is at this point in my development and understanding of music. It still feels quite fresh, young and naïve, so feedback would be greatly appreciated on how to 'mature' my style a bit more.

First off, I am for the most part a musical layman, so take my words with a grain of salt.

Points of interest for me:
  • I really liked the beginning dialogue between the flute and clarinet and the unique textures it created.
  • The fff piano entrance against the accented clarinet and cello in m. 26 really peaked my interest. (I wish you had explored that further!)
  • I thought the start/stop idea explored m. 81 onwards was a nice change of pace.

As for maturity, don't sweat it. This didn't sound naïve to me at all -- that being said, it is tough for me to identify naïvety in this vein of music where composers are so secretive in showing their hand (so to speak). You may want to aim for something similar to what Ferneyhough did 18:30 into his 6th String Quartet; the sudden change of texture is breathtaking. (Though you already did that to an extent in m. 81.)

I am excited to hear what you come up with next!
« Last Edit: October 12, 2018, 05:35:40 PM by schnittkease »

Offline shirime

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Re: jessop's compositions
« Reply #264 on: October 12, 2018, 07:26:14 PM »
First off, I am for the most part a musical layman, so take my words with a grain of salt.

Points of interest for me:
  • I really liked the beginning dialogue between the flute and clarinet and the unique textures it created.
  • The fff piano entrance against the accented clarinet and cello in m. 26 really peaked my interest. (I wish you had explored that further!)
  • I thought the start/stop idea explored m. 81 onwards was a nice change of pace.

As for maturity, don't sweat it. This didn't sound naïve to me at all -- that being said, it is tough for me to identify naïvety in this vein of music where composers are so secretive in showing their hand (so to speak). You may want to aim for something similar to what Ferneyhough did 18:30 into his 6th String Quartet; the sudden change of texture is breathtaking. (Though you already did that to an extent in m. 81.)

I am excited to hear what you come up with next!

Thanks for the comments. I'll have another listen to the Ferneyhough. :)

Offline shirime

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Re: jessop's compositions
« Reply #265 on: October 12, 2018, 11:05:07 PM »
A few things that have happened recently. For these pieces, I no longer use a computer notation software to 'help' me compose or to hear how it sounds using the playback function. I don't use piano to test chords on. I only use instruments to test extended techniques. Here's what's been going on in the last few months.......................

6th of August: Premiere of a solo clarinet piece called Mit den Augen Kirchners. Performed by the associate principal clarinettist of the Melbourne Symphony Orchestra and commissioned by the MSO and National Gallery of Victoria for a special event concert that pairs modern music with visiting works of modern art from MoMA, NY.
Achievement unlocked: first successful composition of mine where I engraved it entirely on LilyPond without any audio playback to 'help'.
Achievement unlocked: I now understand clarinet multiphonics
Achievement unlocked: first, and hopefully not the last, commission through the Melbourne Symphony Orchestra.

16th of September: Premiere of Palimpsest in Hannover, Germany. It's a string quartet, written over the top of the basic structure and has themes derived from the fourth movement of Mozart's string quartet no. 19. Reviews (in German) here and here.
Achievement unlocked: My first international commission and premiere (and I still haven't heard it yet because I wasn't in Germany for the concert, but they will send me a recording).
Achievement unlocked: Described as a 'murderous Australian' (mordlustigen Australien) in German press.
Achievement unlocked: Worked out how to accept money into my bank account from overseas.

18th of September: Premiere of Auditorium for choir back in Melbourne, as part of a student composition concert. I wrote the piece from 12:30am to 2am the morning of the performance, and the cobbled-together choir ran through it twice and then performed it that evening. I also performed a guitar improvisation called Playing Without Memory.
Achievement unlocked: Ink still wet on the page as musicians sight read for a concert the same night it was composed. (to be fair, this was a text score and very much a 'strict, guided improvisation').
Achievement unlocked: I can now improvise a coherent and cohesive composition on guitar and fool my composition teachers into thinking it's a notated composition!  >:D

23rd of September: Premiere of Peripeteia for solo guitar at the Melbourne Guitar Festival, performed by Dan McKay in a recital of recent Australian works for solo guitar. This was actually a piece I wrote back in April.
Achievement unlocked: First solo guitar piece I am actually feeling quite happy with! It's a beast of an instrument, and very difficult to write idiomatically for.
Achievement unlocked: Discussion about a commission from another guitarist whom I greatly admire, by the name of Harold Gretton........more on this to come.....

11th of October: Read-through and workshop of Kōan, written for some really fantastic local musicians who are a new music ensemble together. It's a 'pierrot plus percussion' ensemble and I have to say that this is probably my proudest achievement as a student composer. I have a lot to learn from here, but I think this is a good start in the direction I want to head.
Achievement unlocked: My best composition yet
Achievement unlocked: I can now hear densely contrapuntal, atonal works in my head and notate them exactly how I hear them on the page without having to work out any notes on piano or on the computer. After I composed it, I engraved in LilyPond after without any MIDI playback necessary.

16th of October: This one is a bit of a sad one. My recent piece A Spell Had Touched (for soprano, flute and xylophone) was cancelled for performance because of musicians being ill, transporting a xylophone to the venue being too problematic and ultimately not having enough rehearsal time. I'm hoping to reschedule the premiere for early 2019. In place of this piece, I am performing another guitar improvisation, probably called Playing Without Memory No. 2.
Achievement unlocked: First cancellation of a premiere.

So, after all this, and now that GMG seems to be running properly again and is getting busier, I am back on GMG to contribute some more and take part in discussions. After spending some time in life, forums really catch up on you sometimes!
« Last Edit: October 12, 2018, 11:07:37 PM by shirime »

Online North Star

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Re: jessop's compositions
« Reply #266 on: October 13, 2018, 12:16:26 AM »
Thanks! I hope you enjoyed the piece. :)
I did! Keep up the good work.
"Everything has beauty, but not everyone sees it." - Confucius

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Offline shirime

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Re: jessop's compositions
« Reply #267 on: October 15, 2018, 10:04:54 PM »
By the start of November I will have a new electroacoustic piece finished that I can post..........got no clue when I'll start working on it but the due date is coming up! Tonight I'm giving a concert doing a guitar improvisation called Playing Without Memory no. 2 and I'll be wearing black shoes, beige trousers, a button up shirt with a pattern of multicoloured rhombus-shaped 'rings' on a navy blue background, a black jacket and red sunglasses.

Offline shirime

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Re: jessop's compositions
« Reply #268 on: November 08, 2018, 12:22:27 PM »
Also, starting work on a new piece for solo guitar (sorry I haven't been around too much lately, house caught fire) for one of the best musicians I've ever had the opportunity to compose for: Harold Gretton. It will probably be about 11 or 12 minutes long, looking at Scriabin sonatas for ideas on how to construct a single movement sonata of that length.

Also I have a piece about 5 minutes in duration for another guitarist friend of mine who will be performing it around Europe when he is over there at some stage later.

And also I've been fascinated with wind symphony/concert band (what's it called?) as an ensemble. There's a call for scores I have come across looking for new works for that ensemble due next year, I might compose something for that

Offline shirime

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Re: jessop's compositions
« Reply #269 on: November 11, 2018, 04:51:16 PM »
There’s a Wind Symphony nearby who have an annual call for scores! Looks like I’m gonna be composing something to submit to that over the next few months. I’m not too familiar with this repertoire, but I know that there’s a great piece by Dai Fujikura I can have a look at. Does anyone know of any contemporary/experimental works for that ensemble worth checking out?

Online k a rl h e nn i ng

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Re: jessop's compositions
« Reply #270 on: November 11, 2018, 05:07:58 PM »
There’s a Wind Symphony nearby who have an annual call for scores! Looks like I’m gonna be composing something to submit to that over the next few months. I’m not too familiar with this repertoire, but I know that there’s a great piece by Dai Fujikura I can have a look at. Does anyone know of any contemporary/experimental works for that ensemble worth checking out?

Great!  Good luck!

FWIW, this is my recent effort in that medium:

<a href="http://www.youtube.com/v/HAK0BwHRTxM" target="_blank" class="new_win">http://www.youtube.com/v/HAK0BwHRTxM</a>
Karl Henning, Ph.D.
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nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline shirime

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Re: jessop's compositions
« Reply #271 on: November 11, 2018, 06:39:23 PM »
Great!  Good luck!

FWIW, this is my recent effort in that medium:

<a href="http://www.youtube.com/v/HAK0BwHRTxM" target="_blank" class="new_win">http://www.youtube.com/v/HAK0BwHRTxM</a>
Thank you, I’ll have a listen. :)

Offline shirime

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Re: jessop's compositions
« Reply #272 on: December 02, 2018, 09:25:29 AM »
Recording of Palimpsest came through

https://www.dropbox.com/sh/e61u4r63qo0llh3/AADHgtvEHg3BrwhY8yGdm_Qra?dl=0

Honestly, not my best work, but I reckon that’s definitely my best opening 45 seconds.  8)

Offline shirime

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Re: jessop's compositions
« Reply #273 on: December 02, 2018, 09:27:30 AM »
Actually, it’s a good thing this recording came through today because I’m starting work on another piece for string quartet to send off to a call for scores/composer development programme run by Flinders Quartet back in Melbourne. There are many things I’ve learnt from Palimpsest that I can put towards writing an even better piece.

Online schnittkease

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Re: jessop's compositions
« Reply #274 on: December 02, 2018, 11:41:12 AM »
Haha, that was great! I love the Schnittkesque blend of tonal centers and aggressive dissonance. It does seem odd, however, to end the piece on such a diatonic passage: is this 'light' at the end of a tunnel? Or is the etched off tonal material on your musical palimpsest still visible underneath all the chaos?

Offline shirime

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Re: jessop's compositions
« Reply #275 on: December 02, 2018, 01:14:39 PM »
Haha, that was great! I love the Schnittkesque blend of tonal centers and aggressive dissonance. It does seem odd, however, to end the piece on such a diatonic passage: is this 'light' at the end of a tunnel? Or is the etched off tonal material on your musical palimpsest still visible underneath all the chaos?

The ‘etched off tonal material still visible’ was the intention, yes, but ‘light at the end of the passage’ is also a valid interpretation of course. :) I’m very glad you enjoyed it!