Flute Sonatine

[Ian Moore]

Here is another one of my pieces. Unlike Adieu , it was written a considerable time ago. In the twenty years that have gone by, I think I have changed as a composer. Nevertheless, I think this work is an interesting musical image I what I was like all those years ago. It is played by the brilliant American flute virtuoso, Nancy Ruffer. Please enjoy and leave a comment if you wish to.

http://youtu.be/Teug5GfhItw

[Ian Moore]

If you listen to the music, please leave a comment.
What do you think of the notation?
What do you think of the technical difficulties?
Did you enjoy it?

[EigenUser]

I'll give it a listen later today or tomorrow and report back.

I compose music for fun. You'll find that people here are shy when it comes to listening to music composed by members. Even things that are just orchestrated by members. No one commented at all on a sample of the Bartok Improvisations on Hungarian Peasant Songs that I posted in the Arrangements/Orchestrations thread -- not even after a friendly reminder I posted.

I feel the same reluctance to listen to something posted by someone else. Why are we like this? I have no idea.

I'd make sure to ask around a few other places online. I would, too, but I'm too lazy and I guess I don't care enough to find out what others think, though it'd be nice to be acknowledged.

EDIT: I just listened to it. It is hard for me to tell since I don't usually like unaccompanied solo instruments. But, it was cool how parts appeared to sound like two flutes playing. I play violin and piano, so I can't comment on the technical difficulties of the work. The notation is a little bit confusing, but certainly readable.

I'm listening to your Adieu right now which I like very much. Actually, I'm re-playing it right now! It reminds me a bit of Boulez's Derive I (that's a good thing in my book! I love that work!). Oddly, I even like the unaccompanied part in the beginning. Good work! I definitely see a Boulez influence, but with some modal inflection (the latter I might be imagining).

[Ian Moore]

Thanks for your comments on flute sonatine.

Boulez's Derive is the single most important influence on my musical output. To him it must have been a minor work but to me it's helped shape my music. You're one of the few people to spot the connection. I think adieu has an emotional side which is more direct. It's something I'll have to think about for the future. I don't know why some people are shy about giving feedback. I think it helps to keep a forum alive if members are able to get a discussion going about their own music.

Thank you for your contribution.

[EigenUser]

Thanks for your comments on flute sonatine.

Boulez's Derive is the single most important influence on my musical output. To him it must have been a minor work but to me it's helped shape my music. You're one of the few people to spot the connection. I think adieu has an emotional side which is more direct. It's something I'll have to think about for the future. I don't know why some people are shy about giving feedback. I think it helps to keep a forum alive if members are able to get a discussion going about their own music.

Thank you for your contribution.

No problem. Derive I is really a great piece. It's so short and seemingly so inconsequential, but I absolutely love it. I have no idea exactly why. I just got a CD for Repons last week which I am currently missing because I left it in my car CD player when I took the car to get repaired! I also like that work very much.

If I may poke some fun at us GMG members, you'll find that there are two main types:
1) Those who run around frantically with a stopwatch trying to find the perfect recording of Twinkle, Twinkle, Little Star.
2) Those who endlessly and irritatingly promote their favorite composer(s)

I fall under the second category. I challenge you to try and find a thread where I don't mention Ligeti.

Sorry to drift from the topic, but this is why you are not getting much feedback. It has nothing to do with your music!

[Karl Henning]

If I may poke some fun at us GMG members, you'll find that there are two main types:
1) Those who run around frantically with a stopwatch trying to find the perfect recording of Twinkle, Twinkle, Little Star.
2) Those who endlessly and irritatingly promote their favorite composer(s)

Hah! But Nate's point is sound, that there are many musical interests of the GMG members, and may members;  not all of them are interested in new music.

I'd add, without being able to promise anything in particular, that (like this dialogue with Nate), one needs to build relationships.  Partly because there are so many GMG'ers, no one "knows" you yet.  Partly because (as you know) you cannot throw a brick without hitting a composer who is trying to get his work done and to build a name (yours truly, among them).  I certainly welcome you and wish you luck!

[Ian Moore]

Karlhenning, your posts are legendary!  No one can accuse you of not trying to build a proper relationship with the members of this forum.  How do you get the time?

[Karl Henning]

Well, I look in from time to time, and before you know it . . . .

I'll have a listen to the Sonatine this week.

[Ian Moore]

Thank you-it's quite an early work.  Sometimes, it's good to see how people got to where they are now.

But seriously, I have seen your blog as well and with the composing- it's like a full time occupation.

[Karl Henning]

My wife and mom-in-law are visual artists, trained in St Petersburg, and they are (nearly) constantly at work . .  either they're at the easel, or they have a pad of paper, or their wheels are just turning, mentally.  Knowing them has driven me to retool my thinking, as to what I should be prepared to do, if I consider myself an artst.

[Ian Moore]

Hard work always pays off.  There is a saying that goes something like:

"Success is ten percent inspiration and ninety percent perspiration."