Uhor's new desk

[Uhor]

I changed my compositional ideas and so I start a new thread with this preliminary version of a piece for Piano 4 Hands:

https://youtu.be/w9GJRXByCq4

(Please ignore the notational inconveniences.)

[krummholz]

I changed my compositional ideas and so I start a new thread with this preliminary version of a piece for Piano 4 Hands:

https://youtu.be/w9GJRXByCq4

(Please ignore the notational inconveniences.)

Oooh.... REALLY like this. Love the cross-rhythms in the outer sections and the very spare textures midway. The dynamic contrasts really work for me. How was this realised? Notation software? DAW? (I assume not actual players, but maybe...)

[Uhor]

Thank you! It was made in Sibelius + Noteperformer.

[krummholz]

Thank you! It was made in Sibelius + Noteperformer.

Exactly what I use... though I've not yet used it to write anything for piano. Good to know that such realistic-sounding playback is possible with it!

[Uhor]

Something also very tonal but for orchestra:

https://soundcloud.com/richannes-wrahms/orchestral-piece-no-0

[Uhor]

Same thing but (rather unreadable) score video:

https://youtu.be/kQSy6cYdlJc

[Uhor]

For small orchestra, this came out

Modes of Accord: https://soundcloud.com/richannes-wrahms/modes-of-accord-preliminary-version

It flows and modulates mostly between the tone centers A, C, F, G and D.

[krummholz]

For small orchestra, this came out

Modes of Accord: https://soundcloud.com/richannes-wrahms/modes-of-accord-preliminary-version

It flows and modulates mostly between the tone centers A, C, F, G and D.

I like it! It gradually develops into a livelier and livelier contrapuntal tapestry, in places very Bach-like. The ending was very much not what I was expecting though, seemingly very unresolved. Was that intentional?

[Uhor]

I like it! It gradually develops into a livelier and livelier contrapuntal tapestry, in places very Bach-like. The ending was very much not what I was expecting though, seemingly very unresolved. Was that intentional?

Your joy is welcome.

I accepted some chords in the vocabulary that would classically need resulting because of the tritone in them or have (not very conflicting) extensions, I mostly did avoid unprepared semitones or equivalent.

My intention was to end playfully in a major mode of A (think I ended up choosing the acoustic scale) since the piece begins in A Aeolian.

[Uhor]

A little experimenting this time.


Ritual prayer (for large orchestra): https://soundcloud.com/richannes-wrahms/ritual-prayer

[Uhor]

I may end up adding more counterpoint to this later, but for now:

Night, Day, Eve (for orchestra): https://soundcloud.com/richannes-wrahms/night-day-eve

[Uhor]

Some crackhead stuff which is probably not playable anyways.


Mixed Septet: https://youtu.be/-h0roOay8hU

[Uhor]

So I wrote the complete first draft of a sonata-form-like movement for Chamber Orchestra

Symphony in Gold and Silver

Exposition:
A is polychords from F, C and G Lydian.
B is dobled melodies from polychords of G, Bb and Db Dorian.
C is textures from polychords of B, C and C# Locrian.

Development:
1. a few A tutti chords to close the exposition and open the development
2. A+B juxtaposed
3. A+C juxtaposed
4. A+B+C tensely juxtaposed
5. A+B+C integrated resolutely in a "collective agreement" mode based on E Lydian, ending in a little cello solo epilogue.

Recapitulation order: C-B-A

[Uhor]

Polyphonic version for Large Orchestra

 

[Uhor]

Another one I'm proud of:

[Uhor]

[Uhor]

Another one I'm proud of:

I have surpassed my longest piece in lenght, though not in complexity.
Its a piece I'm also very proud of though. It comes with the following poem:

The Earth, The Moon, The Sun: A Poem

Beneath the canted dome of a pale beginning
the earth lay veiled in a powder of saffron wind
Ferns stirred in trance
and in the undergrowth, an unseen bird
called once, like the last echo
of a myth pronounced in reeds

Nothing had perished yet.
The acacias lifted their limbs
with the somnambulant poise
of dancers under water

Time exhaled

But night was born

The Moon, tremulous
Mineral, colossal
Rose, not ascendant
On the edge of the waters.
Both serene and famished

She turned the salt flats to mirrors.
She annulled the name of the river
She loomed above the mangroves
Like an unanswered invocation
Silvered, sickened
Dragging behind her a trail
Of speechless beasts

What once pulsed, stilled
What once knelt, broke
A great sleep, dense as ash
Draped itself over the wings
Of every visible thing

Then

A crack
Across the vault of stillness
A flare
The Sun

One strode forth in warmth
A pyre god, a conqueror
With eyes of coal and gold

The air thickened
The stones, blistering, split
Every leaf curled inward
Each shadow fled its source

Even the wind turned brittle

The flocks were scattered.
The earth, harried, trembling
Offered up her dust
As a libation
To something nameless

And so:

The Earth returned

But not as mother
Not as shelter
She stood
A monolith
Her skin veined
With the fossils of rain
Her voice
A low thrum in the roots
Beneath abandoned fields

She no longer wept

She remembered

The Sun reversed,
His blaze now spiral
The Moon receded,
Swallowed by her own reflection.
The garden flickered
Half-seen behind a gauze
Of smouldering time.

And again
Earth

But transfigured
But scorched
But holy in its ruin

A single tree remains.
Its branches fork like veins
in the wrist of the world
Its fruit is ash.
Its shadow
An elegy for all that walked.

The Earth is still
And in that stillness
She waits

The seeds are there

[Uhor]

I'be been told that the piece's second half is too redundant, like the problem has been solved and it just drags. Is that so? I recommend you listen from minute 12:03 if you do not have the time for the whole thing.

I made it semi palindromic with internal fractal features on purpose, as a mediation and a piece you listen to only once in a while, being wholey comprehensible in one go.