Ottevanger's Omphaloskeptic Outpost

[Guido]

Obviously I go for the cello sonata... but... I think after doing so many works for smaller ensembles or single player and given the success of this last orchestral project, maybe you should do some larger scale pieces (go with the flow as't'were...). If you already have the idea for white modulations then I'd run with it.

A string trio sounds delicious though. Or that song cycle (maybe with obligato cello?? - I have been listening a lot to Previn's songs for soprano, cello and piano with texts by Toni Morrison* and I think they are probably the best thing he's done. Great cello sonata too!).

Who'd have thought that what a composer should compose next would ever go to an X-factor style public vote?!!

In conclusion, I'm willing to wait for a cello work! 0:) (But not too long!)

*On a tangent, I'm pretty sure she's a nobel prize winner... yes, Wikipedia has decreed it!

[greg]

My vote is obvious...... anything orchestral, of course. Although you've got a lot of great piano music, I think it's about time to catch up with the massive forces of doom.....

[sul G]

Thank you all for voting. I hope you all free empowered and enfranchised by taking part in this process.  0:) Of course, it may seem peculiar - as Guido says

Who'd have thought that what a composer should compose next would ever go to an X-factor style public vote?!!

...but in the spirit of true democracy I will feel free to ignore the results of the poll if they don't suit me!

The problem with writing the orchestral piece is only that it may not get played, whereas something smaller will be more likely to get an outing. And it's only fair to say that though White Modulations will be orchestral, it won't be a big orchestra. So 'Massive Forces of Doom' may be slightly misleading, Greg, though I like the terminology and think that you ought to use it yourself  - I can see it now: Concerto for Electric Guitar and Massive Forces of Doom.

[Maciek]

I'm late but since the vote wouldn't count anyway, let me cast it: I find string trio and song cycle the most alluring suggestions. But, to tell the truth, I'd be happy with anything (or rather everything). Heck, even a cello sonata.

[Guido]

Do I detect a slight hint that you want to publicise your work more?! Getting an outing was never mentioned before! This can only be a good thing.

Do you find the effort to output ratio of orchestral works to be different to chamber works?

I can see it now: Concerto for Electric Guitar and Massive Forces of Doom.

This does sound like a good idea. Write it Greg!

[sul G]

Do I detect a slight hint that you want to publicise your work more?! Getting an outing was never mentioned before! This can only be a good thing.

No, not exactly. I think I'll always be a wallflower. But it's nice to hear one's stuff realised, and that's one reason why writing for solo piano or piano+one is so instantly rewarding! (Though I need to get something sorted out for the Canticle Sonata, which still awaits a clarinetist and pianist getting together.)

Do you find the effort to output ratio of orchestral works to be different to chamber works?

Well, simply physically, yes. When I was writing Ophruoeis there was one passage where I would spend nearly an hour writing each bar! The passage was only about 10 bars long, but it was agony to write - it was purely physical labour, no need for input from the brain, and I remember staying up to 6 in the morning writing that passage, with the Atlanta Olympics on in the background, and hearing about the Atlanta bomb going off live. That's an extreme example, of course, but the principle holds. More importantly, though, ideas that seem destined for orchestral dress come along less often and need a different type of thought, for me anyway, though I can't really explain how the thought is different.

This does sound like a good idea. Write it Greg!

Yes. Or the Oil and Economic Meltdown Symphony, for mixed chorus (singing texts taken from Bloomberg) and Massive Forces of Dm.

[Guido]

Yes. Or the Oil and Economic Meltdown Symphony, for mixed chorus (singing texts taken from Bloomberg) and Massive Forces of Dm.

LOL! 

[Guido]

No, not exactly. I think I'll always be a wallflower. But it's nice to hear one's stuff realised, and that's one reason why writing for solo piano or piano+one is so instantly rewarding! (Though I need to get something sorted out for the Canticle Sonata, which still awaits a clarinetist and pianist getting together.)

Well then, I wouldn't want to stop you writing that cello sonata then!

Well, simply physically, yes. When I was writing Ophruoeis there was one passage where I would spend nearly an hour writing each bar! The passage was only about 10 bars long, but it was agony to write - it was purely physical labour, no need for input from the brain, and I remember staying up to 6 in the morning writing that passage, with the Atlanta Olympics on in the background, and hearing about the Atlanta bomb going off live. That's an extreme example, of course, but the principle holds. More importantly, though, ideas that seem destined for orchestral dress come along less often and need a different type of thought, for me anyway, though I can't really explain how the thought is different.

Oh gawd!! That's pretty astonishing...

[sul G]

Oh gawd!! That's pretty astonishing...

It was stuff like this. Probably shouldn't have taken quite so long, but a combination of writer's cramp and semiquaver-dazzle-blindness (  ) was taking its toll...

[karlhenning]

No, not exactly. I think I'll always be a wallflower. But it's nice to hear one's stuff realised, and that's one reason why writing for solo piano or piano+one is so instantly rewarding! (Though I need to get something sorted out for the Canticle Sonata, which still awaits a clarinetist and pianist getting together.)

Clarinetist at the ready.  And the harpist who read through my Lost Waters is also a pianist, so we may be able to get the long-awaited Canticle Sonata into train.

Remind me:  what unfinished business remains on that 'un?

[sul G]

As far as I remember, none. Let me check the part over...


edit - ah, the most recent version (which is itself fairly old now) is on the other computer. But IIRC I was happy with it.

[Guido]

No, I definitely could see bars of that complexity taking that long. What happened to CUMS composing competition winners in the days before extracting parts from a Sibelius score - did the composer have to write out all the parts too?!

More importantly, though, ideas that seem destined for orchestral dress come along less often and need a different type of thought, for me anyway, though I can't really explain how the thought is different.

This is interesting.

[karlhenning]

No, I definitely could see bars of that complexity taking that long. What happened to CUMS composing competition winners in the days before extracting parts from a Sibelius score - did the composer have to write out all the parts too?!

Perhaps the competition paid copyists.

[sul G]

Not if my experience is anything to go by - I copied some of the parts for Huw Watkins'* CUMS winning piece without any payment! On the other hand, he asked me to, as CUMS were being rubbish about getting them done on time, so it was really a favour for a friend and maybe he never told them that I'd done the work for them. Maybe I should phone him up and ask for some renumeration, with interest. 

*never knew he had a Wiki page!

[Guido]

Not if my experience is anything to go by - I copied some of the parts for Huw Watkins'* CUMS winning piece without any payment! On the other hand, he asked me too as CUMS were being rubbish about getting them done on time, so it was really a favour for a friend and maybe he never told them that I'd done the work for them. Maybe I should phone him up and ask for some renumeration, with interest. 

*never knew he had a Wiki page!

Yes you should! By the way, he's written a cello sonata... just saying...

[sul G]

Yes, but his brother is a superb cellist. I'm not sure I know any cellists at all......... 

[Maciek]

How about a piano concerto then?

[sul G]

Piano Concerto? That's so last century....


(though I'm always open to offers  )

[Maciek]

OK, OK, how 'bout an Oil and Economic Meltdown Concerto for prepared piano and Massive Forces of Doom?

(I know, I know, prepared piano is more than a bit last century too... How about synthesizer? No? Meh? Oh, I don't know with you guys! )

[sul G]

No, I think you're on to something...