Klavierstück (2010) and more

Started by rappy, June 18, 2010, 12:00:33 PM

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rappy

#60
Thanks a lot for your kind words, Luke! I always love to read your thoughts on my music, not only because of the kind words you always find but especially because you're such an attentive listener! You're the first one who has noticed just the only quote in the whole composition! And I'm sure you will crack the nut with no more hints than this: it evolves from the key!

The music from Wuorinen sounds great, thank you for posting! Never heard the name before.  :-[ Yet another great discovery!

P. S.: Of course I'm incredibly happy with the performers, but the rehearsal time was very short and we had a better version in the rehearsal right before the concert the recording is from. E.g., in the tonal passage you mentioned, the timpani is not with the others, thus overall it doesn't sound as tonal as intended.

Luke

Quote from: rappy on June 25, 2012, 12:53:17 PM
Thanks a lot for your kind words, Luke! I always love to read your thoughts on my music, not only because of the kind words you always find but especially because you're such an attentive listener! You're the first one who has noticed just the only quote in the whole composition! And I'm sure you will crack the nut with no more hints than this: it evolves from the key!

Well, what it reminds me of (and I'm not thinking of the key just yet) is Strauss -  various waltz themes spring to mind and I can't at this second place which one it is which I'm thinking of, even though I thought I knew my Strauss pretty intimately. Those typical Strauss themes seem to turn easily into each other, and in my mind , ridiculously enough, the Dance of the Seven Veils is morphing into part of Heldenleben etc. etc. !! But your clue about cracking the nut points me in more easterly direction...though surely it's not that! I thought I knew that one inside out!

rappy

Quote from: Luke on June 25, 2012, 01:20:06 PM
I thought I knew that one inside out!

You certainly do! You've almost got it. Now think about a trumpet playing in c sharp major! It's quite orgiastic in the original work.  :)

Luke

Ah, so it is the Dance of the Seven Veils! I was right!

rappy

Yeah! The most similar passage (also with the fourths in-between which trombone and timpani play) is when Jochanaan walks back down, if I have it in mind correctly.

Guido

I'd love to hear these pieces rappy, plese do send them along to my email address which can be found on my profile. Cheers!
Geologist.

The large print giveth, and the small print taketh away

rappy

Maybe I can share the quartet for everyone.

http://www.dgsp-rheinland-pfalz.de/streichquartett.pdf

http://www.dgsp-rheinland-pfalz.de/Streichquartett.mp3

But keep in mind it were students premiering about at least 5 pieces each player in only one week. I guess 50% of the notes are the right pitch at the right place.  ;)

Guido

Rappy sent me his music and I gave him feed back there (in short: very impressed!) but thought we could expand a bit here. Rappy mentioned that Luke heard the dance of the seven veils in the brass piece, which I hadn't read until after I had listened. I happened to also mention that I was reminded of Strauss, in the "perpetual dazzle" of the score, but I also hear more explicit Salome references, but not where Luke heard them!

Between 1:30 to 1:40 in Kuiskata, there are two of the same motives as the Dance of the seven veils, and one that is similar to the "Salome" motiv.

Actually I'll just post my comments to Ralph, in case anyone is hesitating and hasn't yet heard these pieces!

QuoteSome very very cool stuff here. Your music has such a sense of drama and momentum. Kuiskata is like a cute juggernaught, compact, punchy, frothing and twisting along - it's like a Carter-ised version of Strauss - the "perpetual dazzle" of both composers approach to orchestral writing is there and their restlessness too. And I think I hear the Dance of the Seven Veils in there! At the end (around 7.15 onwards), it's Jochanaan's cistern that I am reminded of, when Salome is peering down into it, and the bass clarinet and contrabassoon, both Strauss specialities, especially in Salome, seem to be at least semi quotations too! I think sometimes the mosaic like structure works better sometimes than at other times in the piece, but largely it convinces and this is a great piece. I so rarely hear atonal music these days that is so memorable. I'd love to hear it in studio sound to get all that sonorous detail!

The Brass trio is also a great piece, and so clearly the same composer as the previous piece - you have such a strong compositional profile already. Really exciting writing! My favourite bit of the string quartet is the few bars after 48 which again have a very arresting sonority, and are a relief after the frenetic activity before - the eye of the storm, before the winds get up again.


Geologist.

The large print giveth, and the small print taketh away

Cato

Quote from: rappy on August 31, 2012, 11:17:17 PM
Maybe I can share the quartet for everyone.

http://www.dgsp-rheinland-pfalz.de/streichquartett.pdf

http://www.dgsp-rheinland-pfalz.de/Streichquartett.mp3

But keep in mind it were students premiering about at least 5 pieces each player in only one week. I guess 50% of the notes are the right pitch at the right place.  ;)

Rappy: I have just now found the time to look through GMG and have tried to download the PDF of your String Quartet here at school, but cannot!  Possibly our system is blocking it.

I will try it later tonight at home.
"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

North Star

Quote from: Cato on September 04, 2012, 03:53:33 AM
Rappy: I have just now found the time to look through GMG and have tried to download the PDF of your String Quartet here at school, but cannot!  Possibly our system is blocking it.

I will try it later tonight at home.

Works for me, so probably it's the school's system.
"Everything has beauty, but not everyone sees it." - Confucius

My photographs on Flickr

rappy

#70
So here's a concerto for horn and orchestra. Might be somewhat difficult for the solist.  ::)

http://www.bernardynet.de/hornkonzert.pdf

There will be a full cadenza on page 37, which is missing yet. It will stop abruptly with the tutti chord on page 38.

rappy


rappy

Here's a recording of the Hornkonzert which has been performed yesterday.

http://www.dgsp-rheinland-pfalz.de/Hornkonzert.mp3

For the score link see above. The cadenza I mentioned has been improvised.

Karl Henning

Congratulations on the performance, Ralph! I'll be glad to check out the mp3 this evening; were you happy with the performance?
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

rappy

Thank you Karl! I was quite happy with the performance, although it's a youth orchestra and a young horn player (*1993). Thus of course the score is handled with a sense of freedom, being not absolutely precise in every moment, but they really gave their best!

rappy

So there's a new work in progress...


ibanezmonster

Ha, nice and complex, I see.

I like to see the usage of quintuplet groupings here. Reminds me of some of the rhythmic stuff I've been working on.

rappy

Thanks Greg! Do you have some sketches of your "rhythmic stuff"? :)

Try out the same link ( http://www.dgsp-rheinland-pfalz.de/Hornkonzert.mp3 ) now for a much better recording than mine was (from the same concert)!

rappy

I've got a recording from the Ensemble Modern playing the following piece:

http://www.dgsp-rheinland-pfalz.de/raivota.pdf

It was fantastic to see how they manage to play that score which is really challenging in a very special way.
If someone's interested in the mp3, I can give a link per PM.

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot