Ottevanger's Omphaloskeptic Outpost

[greg]

Here:

cool! thanks, Maciek.

oh yeah, how do you pronounce your name?

is it like:
"Ma" (as in "MAll")
"Ci" (as in "CHeek")
"Ek" (as in "chECK"), and with the accent on the first syllable?
(that's my wild guess)

[lukeottevanger]

i was thinking of writing a big review about all of your pieces, but I'll just try to keep my thoughts short and simple since it's been like a week since I've even listened to your stuff and some of my thoughts have escaped me.

The Chant of Carnus- smashing ending! 
Through the Year- I've already commented on it before. I just LOOOOOOVE it! The more I listen the more I love it. The ideas are amazing, piano exercises, just white-note pieces and pieces with just glissandos, wow. And you manage to make it sound interesting and good at the same time.
Unfinished Study, X, A lullaby to silence- you know, these aren't even long enough to give thoughts on, lol
Sonata, Nightingale Sonata, Psyche Sonata- these 3 sonatas i liked, too. But there is one thing I wanted to mention, just one small detail. I think it was during the Sonata that I noticed parts where it sounded like the left hand was just playing simple two note figures that weren't really adding anything. You probably could've made a more interesting accompaniment in that part/those parts.
Correspondences - sweet! hehe
Four Paz Songs- I saved this one for last because..... it just might be my favorite. Seriously, the first piece especially is just perfect, every note. I don't know what to say other than it totally hits the spot. Four Paz Songs vs. Through the Year, which is my favorite- i don't know. I'm thinking Four Paz Songs, but Through the Year is also really good. hmmmmmmm


Anyways, I've been wanting to say that the music you have here sounds like stuff by a composer who should be famous! And Four Paz Songs and Through the Year is some of the best stuff I've heard on the internet. I don't understand why you don't have better recordings, or any recordings that are professionally done because I REALLY would like to have your music with better sound quality.

If everyone else had to choose a favorite work by Luke, what would it be?

Wow, thank you greg! I'm very touched!

Out of interest, with respect to the Sonata - have you downloaded the score? and if so, could you point me in the direction of the bars where you sensed the left hand to be lacking? I'd like to look over them again in the light of this. Edit - one thing I'd say is that, though it may well sound like it, the left hand isn't conceived of as being particularly 'accompanimental' in this piece, because the whole thing is pretty contrapuntal, and there aren't really any repeating 'accompaniment' figures. However, that doesn't mean you might not be right!

Thanks again for taking the time to listen - are there still pieces left for you to try? If so, can I suggest that if you liked Through the Year, you may like the Christmas Pieces too. Among the other collections I personally value particularly are the Improvisations, the Night Music pieces and the Individuation and Enlightenment pieces.

I've enjoyed everything I've listened to so far.  My favorite, though, must be the Canticle Sonata.

Once Luke resolves that small matter of the trill, I mean 

Karl, I am effectively on holiday as of tomorrow. At which point revisiting that score takes on high priority again!

[Maciek]

cool! thanks, Maciek.

oh yeah, how do you pronounce your name?

is it like:
"Ma" (as in "MAll")
"Ci" (as in "CHeek")
"Ek" (as in "chECK"), and with the accent on the first syllable?
(that's my wild guess)

You're very close! I don't think anyone has been that close before! Seriously!

"Ma" (as in "MAll") - Nope. The "a" is "open", like in A-ha!
"Ci" (as in "CHeek") - Yes!
"Ek" (as in "chECK") - That's right!
, and with the accent on the first syllable? - Exactly!

The best English rendition I've managed to come up with so far is this:

Matcheek

[greg]

You're very close! I don't think anyone has been that close before! Seriously!

"Ma" (as in "MAll") - Nope. The "a" is "open", like in A-ha!
"Ci" (as in "CHeek") - Yes!
"Ek" (as in "chECK") - That's right!
, and with the accent on the first syllable? - Exactly!

The best English rendition I've managed to come up with so far is this:

Matcheek

ok...... if i don't get this right, this is gonna bother me.
the A in "mall" does sound like the A in "aha"- but maybe it doesn't in the English accent, maybe that's what you were thinking of?
other examples: fall, tall, stall, etc. but NOT the A in "apple"

is it 2 or 3 syllables? Like Ma-ciek or Ma-ci-ek?
when you wrote "Macheek" that kinda confused me.... is it "Check", "Cheek", or "Chi-ek"?

(this is so hard when you're not communicating verbally, lol)

[karlhenning]

Enough about Maciek for a while, Greg; get to listening to Luke's Canticle Sonata!

[greg]

Out of interest, with respect to the Sonata - have you downloaded the score? and if so, could you point me in the direction of the bars where you sensed the left hand to be lacking? I'd like to look over them again in the light of this. Edit - one thing I'd say is that, though it may well sound like it, the left hand isn't conceived of as being particularly 'accompanimental' in this piece, because the whole thing is pretty contrapuntal, and there aren't really any repeating 'accompaniment' figures. However, that doesn't mean you might not be right!

i'm totally wrong, it's not the Sonata, lol.
I just found it, the Psyche Sonata, on pages 2 and 4 where the left hand plays that repeated, somewhat stationary figure. Listening to it again, you know, it's doesn't actually sound bad at all. It's just that in my mind I could hear the left hand moving around a little bit more. Such a small thing, anyways.

Thanks again for taking the time to listen - are there still pieces left for you to try? If so, can I suggest that if you liked Through the Year, you may like the Christmas Pieces too. Among the other collections I personally value particularly are the Improvisations, the Night Music pieces and the Individuation and Enlightenment pieces.

I think I've listened to everything you've posted on the first page, but a couple of them I can't remember if i did listen or not. I have them all saved, anyways, so I'll make sure to listen to all of them. 

[greg]

Enough about Maciek for a while, Greg; get to listening to Luke's Canticle Sonata!

oh yeah! thanks for the reminder

[Maciek]

Sorry, Luke - just one more.

other examples: fall, tall, stall, etc. but NOT the A in "apple"

OK then - let me rephrase:
"Ma" (as in "MAll") - Nope. The "a" is "open", like in Apple!

is it 2 or 3 syllables?

Two syllables: Ma-ciek

But the "ci" stands for a palatalized "ts" sound as (roughly) the CH in CHeek.

So it's more or less:
Mah-chee-eck.
(yes, that is one syllable too many but it's close enough)

when you wrote "Macheek" that kinda confused me.... is it "Check", "Cheek", or "Chi-ek"?

Chi-ek

But Match-eek is a pretty good approximation (especially when you want to communicate in writing .

Anyone want to write a vocal piece with the various possible pronunciations of my name as text?

[greg]

Sorry, Luke - just one more.

OK then - let me rephrase:
"Ma" (as in "MAll") - Nope. The "a" is "open", like in Apple!

Two syllables: Ma-ciek

But the "ci" stands for a palatalized "ts" sound as (roughly) the CH in CHeek.

So it's more or less:
Mah-chee-eck.
(yes, that is one syllable too many but it's close enough)

Chi-ek

But Match-eek is a pretty good approximation (especially when you want to communicate in writing .

Anyone want to write a vocal piece with the various possible pronunciations of my name as text?

ok, i get it now 

Anyone want to write a vocal piece with the various possible pronunciations of my name as text?

sure, i could provide the Japanese pronounciation:
マッチェク    "Mattchekku"

[greg]

listened to the Canticle Sonata yesterday.
very interesting stuff, I enjoyed it. It has a soundworld in its own, i don't know how you do it, Luke...

[lukeottevanger]

Trade secret, greg.....

it's all in the modes. And the rhythmic structure. And the heterophony....

[lukeottevanger]

Oh, and thanks for the clarification about which Sonata you meant, greg! I can see why you would feel that way about the sections you mentioned. The simplicity of circling around three notes, using less chromatic harmony, was deliberate here, to let the music float upwards without stress - supposed to be something like subconscious/spirit/inspiration floating free, at the risk of sounding pretentious (the chromatic twisting motives at the opening of the piece are deliberately opposed, and linked in my mind to conscious thought and questioning etc). obviously I haven't composed anything much like this piece since then - as I've said before, I seem to retreat into more traditional tonal/formal writing when I'm thinking about other issues, as I was when I wrote that one. But comment taken on board...

[greg]

to let the music float upwards without stress - supposed to be something like subconscious/spirit/inspiration floating free, at the risk of sounding pretentious

yeah, that was exactly the feeling i got while listening. Repeated listenings definetely help you to understand the music better. 

oh, and that's my secret, if it is even one at all... but don't tell anyone

[lukeottevanger]

I've made minor changes to Canticle Sonata on the generous and considered advice of Dr. Henning, concerning a couple of very high trills in the second and third movements. The changes were so simple to make that I find myself doubting them, whether they are effective or whether I took the easiest routes - I'll put them up for your consideration later on (the updated score is on another computer).

Karl, did you ever get a chance to listen to the last part of the piece, BTW? I'm interested as to your opinion on the chaconne movement, and the cyclic elements. 

[karlhenning]

.. . The changes were so simple to make that I find myself doubting them, whether they are effective or whether I took the easiest routes - I'll put them up for your consideration later on (the updated score is on another computer).

Excellent! I love it when the repairs are simplicity itself!

Karl, did you ever get a chance to listen to the last part of the piece, BTW? I'm interested as to your opinion on the chaconne movement, and the cyclic elements. 

Thanks for the reminder, Luke!  I've at last listened to the third movement just now.  (You're right, that other trill wanted consideration.)  Having now heard the piece in its entirety, we have to adjust < unreserved enthusiasm for two-thirds of the piece > to < unreserved enthusiasm for work in toto >.  The entire Sonata is beautiful and well made;  I particularly enjoy the broad arc, the pitch-world which is graciously unforced, the fluidity and playfulness of the rhythm.

I want to listen again, and again, but you've got a winner here, Luke!  Congratulations!

We must take thought for breaths at some point.  There's no need to re-write anything (I don't think);  there are a lot of long lines, and we should take thought (both as a courtesy to the performer, and as indication of composer's wishes) for adding the odd breath-mark.  It's something you don't want to 'micromanage', of course, so we're not talking extensive notation . . . .

[karlhenning]

And especially, I enjoy the Canticle Sonata for its fresh character;  it is a distinguished addition to the clarinet repertory.

[lukeottevanger]

And especially, I enjoy the Canticle Sonata for its fresh character;  it is a distinguished addition to the clarinet repertory.

Blimey, Karl! I don't quite know what to say. I must state, however, that as well as being overwhelmed that you like the piece itself so much, I am also grateful that you have picked out as features which pleased you things which I prize highly - the 'unforcedness', the 'fluidity'. Thank you ever so much.   

Except, prosaically that you are of course quite right about the long phrases. Another thing which needs a little attention, perhaps.

[karlhenning]

Except, prosaically that you are of course quite right about the long phrases. Another thing which needs a little attention, perhaps.

Can you prepare a clarinet part easily?  Don't worry about it being 'finished' graphically, so long as it's generally legible :-)  Provide one for draught purposes, and I'll marshal thoughts about breaths.

It's very exciting to have been just at the periphery of the creation of such a fine piece, Luke.

One of our former choristers is a fine pianist;  the trouble being that, just when I learnt that he is a fine pianist, he pulled up stakes and moved to New York.  But I'm sounding him out for when he might be visiting (his family are still here in Boston).

[lukeottevanger]

Can you prepare a clarinet part easily?  Don't worry about it being 'finished' graphically, so long as it's generally legible :-)  Provide one for draught purposes, and I'll marshal thoughts about breaths.

Great - thank you again! I can run off a clarinet part through Sibelius; I've had one half-finished for a while in fact. I'll get down to it soon.

[Guido]

It is a great piece... This reminds me of the great praise that was given to Weirdears' piano sonata on the last forum...

http://www.good-music-guide.com/forum/index.php/topic,1617.msg52348.html#msg52348

It's a also a really great piece - I can't work out how to download the files though... (i.e. I can only play them on the computer anyone have any ideas?

One idea below - to right click the link and save the target. I will try it now.

http://www.broadjam.com/player/player.asp?play_file=13030_131868