Jess' Compositions

[ComposerOfAvantGarde]

Love the piece, hate the name. 

Seems very fun to play, I can almost see the different facial expressions of the performers while playing it. 

Thanks! Can you tell me more of your thoughts on the name?

[aleazk]

In my case, the name alone put some expectations that later were not realized exactly in the piece. But that, of course, has nothing to do with the piece itself! It has to do with the things I associate with the word in the title. At the end, it was all just distracting and a bunch of parallel and superfluous activity happening in my mind while listening. I would have preferred not to start listening the piece with those expectations.

In general, I think more poetic and less directly descriptive-wannabe names are better. 

[Mahlerian]

Here it is: 'Evolve'

Link to score

Link to mp3

Like it a lot!   Thanks for sharing.

[Crudblud]

The part around 1:54-2:30 strikes me as particularly effective and promising, though in my estimation the following middle section does not capitalise upon that promise. If you look at the preceding section you have these great vertical dotted tripleted figures leaping all gangly about the violin drone, but following the drone's crescendo there is a casting out of the rhythmic profile previously established, and in its place this rigid, rather plain, almost pedestrian scherzando. I think this switch could be an effective denial of expectation if it were to come later, after some section which reinforced the expectation, but here it is out of place to my ear. Ultimately, though I sincerely congratulate you on your commission, I can't help but see this as an unordered list of materials awaiting a structure.

Those are my feelings. I wish you all the best for the premiere.

[ComposerOfAvantGarde]

The part around 1:54-2:30 strikes me as particularly effective and promising, though in my estimation the following middle section does not capitalise upon that promise. If you look at the preceding section you have these great vertical dotted tripleted figures leaping all gangly about the violin drone, but following the drone's crescendo there is a casting out of the rhythmic profile previously established, and in its place this rigid, rather plain, almost pedestrian scherzando. I think this switch could be an effective denial of expectation if it were to come later, after some section which reinforced the expectation, but here it is out of place to my ear. Ultimately, though I sincerely congratulate you on your commission, I can't help but see this as an unordered list of materials awaiting a structure.

Those are my feelings. I wish you all the best for the premiere.

Thanks very much for the comments. I feel I can relate to your experience of listening to the piece......although I think with more experience at composing within such a short time frame I will be able to better execute this craft. The section of which you speak I still feel could be better incorporated into the 'scherzando' middle section. Then again, upon reflection, I do think that sometimes I put myself at risk of trying to cram in too many ideas into a short time period for the ideas to exist in. Thank you for pointing this out; it is much appreciated and it will certainly help me down the track.

[Overtones]

I think it's awesome!

[ComposerOfAvantGarde]

https://www.newmusicnetwork.com.au/labmelbourne2

A little bit of info is now up on the New Music Network's website now

[Karl Henning]

Although the caption reads (above), that's you in the pic below, yes? 

[aleazk]

LOL he doesn't look at all like that... that pic must be quite photoshoped... 

[Karl Henning]

There is no photo above, though . . . .

[ComposerOfAvantGarde]

LOL he doesn't look at all like that... that pic must be quite photoshoped... 

It's actually concept art for a future AI version of me.

[Overtones]

So...?

[ComposerOfAvantGarde]

SO! I went to a little workshop/rehearsal for 'Evolve' which lasted about an hour in which we discussed tempo and articulation mainly, but also ideas for musical interpretation and the kinds of expression markings I could add to the score in a later version. Also, I have worked out that it is impossible to make everyone happy with any solution we can come up with for notating rhythm in bars 12 and 13, so we are leaving it unchanged because at least it is specific in how the metric modulation works. One of the more established composers in my area who is having a new work premiered as well—Gordon Kerry—said in a twitter conversation that he is looking forward to hearing my composition.

I will probably be there for the soundcheck on Thursday afternoon.

[ComposerOfAvantGarde]

I had to write a program note for 'Evolve' today. I never know what to write for things like that. 

[Karl Henning]

SO! I went to a little workshop/rehearsal for 'Evolve' which lasted about an hour in which we discussed tempo and articulation mainly, but also ideas for musical interpretation and the kinds of expression markings I could add to the score in a later version. Also, I have worked out that it is impossible to make everyone happy with any solution we can come up with for notating rhythm in bars 12 and 13, so we are leaving it unchanged because at least it is specific in how the metric modulation works. One of the more established composers in my area who is having a new work premiered as well—Gordon Kerry—said in a twitter conversation that he is looking forward to hearing my composition.

I will probably be there for the soundcheck on Thursday afternoon.

Back when you first posted, I meant to reply in congratulation. So congratulations! 

I had to write a program note for 'Evolve' today. I never know what to write for things like that. 

You'll get the hang of it.  My take on that process is . . . do write some about what is going on musically;  don't write in such nuts-&-bolts detail that only we fellow composers will follow you, but Don't underestimate the man in the street, buddy, as Sheldon Kornpett, D.D.S. observed.  Many people/organizations are going to want programmatic "what's it about?" copy;  if that is really "in there," by all means give the people what they want.  But if you were just imposing your will on notes (as many of us composers frequently do), my advice is, diplomatically resist the demand for "a program," but if you can compromise by relating something which is (in a word) reasonably genuine, that good will goes far, too.


So . . . what is your program note?

[ComposerOfAvantGarde]

Back when you first posted, I meant to reply in congratulation. So congratulations! 

You'll get the hang of it.  My take on that process is . . . do write some about what is going on musically;  don't write in such nuts-&-bolts detail that only we fellow composers will follow you, but Don't underestimate the man in the street, buddy, as Sheldon Kornpett, D.D.S. observed.  Many people/organizations are going to want programmatic "what's it about?" copy;  if that is really "in there," by all means give the people what they want.  But if you were just imposing your will on notes (as many of us composers frequently do), my advice is, diplomatically resist the demand for "a program," but if you can compromise by relating something which is (in a word) reasonably genuine, that good will goes far, too.


So . . . what is your program note?

Thank you very much, especially for that advice

The ensemble usually puts up the program notes along with the biography on the 'composer profile' pages on their website......I will post a link once it is up.

[ComposerOfAvantGarde]

Any news? 

Yes; the ensemble has expressed interest in giving the piece a second performance later this year. Could be as part of one of their Melbourne Recital Centre season concerts but idk yet.

[Karl Henning]

When is/was the 1^st performance?

[ComposerOfAvantGarde]

When is/was the 1^st performance?

9 Feb

[Karl Henning]

Well?!  And?!