Thursday, March 31, 2011
Trackings No. 2, movement 6 - score completed
Today I finished the score for the sixth movement of Trackings No. 2 for cello, double bass and piano titled "Not to Return." A couple of weeks ago I wrote that I had completed the sketch score for this movement. Today I finished editing the score including the dynamics and expressions. This leaves two other movements to complete. My goal is to complete these two movements by the end of April.
Program Notes: Night Sky
Night Sky is an aural representation of the journey to night time. The journey is from the perspective of the moon. The opening chords signal the sunset where the moon breaks through the horizon to start its ascent in the sky. This is followed by twilight, the time where the sunlight has almost faded and the mysteries of the night awaken. The ostinato that rises out of the mysteriousness symbolizes the rise of the moon as it marches forward in its ascent of the sky. The themes and motives that appear around the ostinato represent other aspects of the night-time sky such as stars, meteors and birds. The piece ends with the moon reaching the apex of its journey in the night sky.
Wednesday, March 30, 2011
In a heartbeat
Yesterday my wife had an OB/Gyn appointment and being the supportive husband and excited father I went with her. This was the appointment where the doctor checked the baby's heartbeat. The doctor moved the device around my wife's belly until he found the baby's heartbeat. We listened to it for about 20 to 30 seconds. It was an incredible experience. This is the moment where it really hit home for me. Seeing my baby in an ultrasound picture is great, but being able to hear the heartbeat is a whole different level. I now have further proof that the baby is alive. For me it is an experience that I will never forget. I cannot wait to find out the gender of my baby!
Tuesday, March 29, 2011
Program Notes: Age Of...
Age Of...
for flute, soprano sax, horn and tuba
I. Reflection
II. Development
III. Rebirth
Composed: Winter 1998
Premiere: 1998
Age Of... is my first mixed-ensemble piece.
Reflection - As the title suggests, this movement depicts an individual as they look back on their life. The soloistic flute line depicts the thoughts of the individual. The other three voices (soprano sax, horn and tuba) are designed to create a darker background to the somewhat “bright” Flute line. These voices also represent the experiences and/or people whom the individual has encountered and been involved with in one way or another through out their life.
Development - This movement is technically more difficult than the first. This movement is designed to show the individual’s growth and change period. In the middle of this movement--measures 13 to 39--there is a conversation between the flute and tuba. This conversation is between the left and right sides of the brain. Within this conversation growth and change are born. Meanwhile the soprano sax and horn keep a steady rhythm showing that even though times maybe turbulent, stability exists.
Rebirth - This is the fastest and most rhythmic movement. The movement depicts a renewal of life. In this movement the instruments play independent lines depicting the various new experiences and people that the individual will encounter. While this final movement abruptly ends, it should be performed in a way in which the listener gets the sense that this is not the end of one’s life. Instead it is only the beginning of a new life...
for flute, soprano sax, horn and tuba
I. Reflection
II. Development
III. Rebirth
Composed: Winter 1998
Premiere: 1998
Age Of... is my first mixed-ensemble piece.
Reflection - As the title suggests, this movement depicts an individual as they look back on their life. The soloistic flute line depicts the thoughts of the individual. The other three voices (soprano sax, horn and tuba) are designed to create a darker background to the somewhat “bright” Flute line. These voices also represent the experiences and/or people whom the individual has encountered and been involved with in one way or another through out their life.
Development - This movement is technically more difficult than the first. This movement is designed to show the individual’s growth and change period. In the middle of this movement--measures 13 to 39--there is a conversation between the flute and tuba. This conversation is between the left and right sides of the brain. Within this conversation growth and change are born. Meanwhile the soprano sax and horn keep a steady rhythm showing that even though times maybe turbulent, stability exists.
Rebirth - This is the fastest and most rhythmic movement. The movement depicts a renewal of life. In this movement the instruments play independent lines depicting the various new experiences and people that the individual will encounter. While this final movement abruptly ends, it should be performed in a way in which the listener gets the sense that this is not the end of one’s life. Instead it is only the beginning of a new life...
Composing Session: March 26, 2011
Most of my composing time on Saturday was spent editing the score for Time in Memoriam. After completing the orchestration last week I printed off a copy of the score. I have been marking the dynamics and expressions on this copy. I still have one or two sections to mark before I begin entering these markings into Finale.
In this process I noticed a couple of inconsistencies in my score. In the B section there are phrases that come back and I saw that in a couple of them parts were missing. I will need to go over these sections again and fix the omissions.
Editing the score for dynamics and expressions is a tedious yet crucial part of the composition process. While I am not looking forward to inputting them into Finale, I am excited about completing Time in Memoriam.
In this process I noticed a couple of inconsistencies in my score. In the B section there are phrases that come back and I saw that in a couple of them parts were missing. I will need to go over these sections again and fix the omissions.
Editing the score for dynamics and expressions is a tedious yet crucial part of the composition process. While I am not looking forward to inputting them into Finale, I am excited about completing Time in Memoriam.
Monday, March 28, 2011
Listening Journal: March 21-27, 2011
Pascal Dusapin - Exeo (2002) for orchestra
Tristan Murail - Feuilles A Travers Les Cloches (1998) for flute, violin, cello and piano
Charles Ives - Three Places in New England (1914) for orchestra
Pascal Dusapin - Aria (1991) for clarinet and 13 players
Krzysztof Penderecki - Cadenza (1984) for violin
Kaija Saariaho - NoaNoa (1992) for flute and electronics
Kaija Saariaho - Petals (1988) for cello
Witold Lutoslawski - Orchestral Works, volume 7 - CD
Three Postludes (1965)
Preludes and Fugue for 13 solo strings (1972)
Mini Overture (1982)
Fanfare for Louisville (1986)
Fanfare for CUBE (1987)
Prelude for G.S.M.D. (1989)
Fanfare for University of Lancaster (1989)
Chicago Symphony Orchestra - Suites for Orchestra - CD
Jean Martinon, conductor
Bela Bartok - The Miraculous Mandarin (1919)
Paul Hindemith - Nobilissima Visione (1938)
Edgard Varèse - Arcana (1927)
Johann Sebastian Bach - Brandenburg Concerto No. 2 in F Major, BWV 1047 (1721) for flute, oboe, trumpet, violin and continuo
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Tristan Murail - Feuilles A Travers Les Cloches (1998) for flute, violin, cello and piano
Charles Ives - Three Places in New England (1914) for orchestra
Pascal Dusapin - Aria (1991) for clarinet and 13 players
Krzysztof Penderecki - Cadenza (1984) for violin
Kaija Saariaho - NoaNoa (1992) for flute and electronics
Kaija Saariaho - Petals (1988) for cello
Witold Lutoslawski - Orchestral Works, volume 7 - CD
Three Postludes (1965)
Preludes and Fugue for 13 solo strings (1972)
Mini Overture (1982)
Fanfare for Louisville (1986)
Fanfare for CUBE (1987)
Prelude for G.S.M.D. (1989)
Fanfare for University of Lancaster (1989)
Chicago Symphony Orchestra - Suites for Orchestra - CD
Jean Martinon, conductor
Bela Bartok - The Miraculous Mandarin (1919)
Paul Hindemith - Nobilissima Visione (1938)
Edgard Varèse - Arcana (1927)
Johann Sebastian Bach - Brandenburg Concerto No. 2 in F Major, BWV 1047 (1721) for flute, oboe, trumpet, violin and continuo
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A Follow-up Response
I recently sent the scores and parts to three of my bass trombone pieces to bass trombonist Jonathan Warburton. Jonathan is someone who contacted me back in January asking about my bass trombone pieces. I sent Jonathan Incursion for bass trombone, Concerto for Bass Trombone and Chamber Orchestra and Obscured Ruminations for bass trombone and chamber orchestra.
Jonathan wrote back to me a couple of days ago telling me he received the scores. He seems to like my Bass Trombone Concerto. He has asked me for the parts to this piece. He also commented that he has almost learned the solo part.
I am excited about this. Not only do I get my music into someone else's hands, but it sounds like there is a chance that the concerto will be performed again. It may also lead to an opportunity to expand this piece by adding a couple of movements or the composition of a new piece for Jonathan.
Jonathan wrote back to me a couple of days ago telling me he received the scores. He seems to like my Bass Trombone Concerto. He has asked me for the parts to this piece. He also commented that he has almost learned the solo part.
I am excited about this. Not only do I get my music into someone else's hands, but it sounds like there is a chance that the concerto will be performed again. It may also lead to an opportunity to expand this piece by adding a couple of movements or the composition of a new piece for Jonathan.
Friday, March 25, 2011
My cats seem to know...
It is funny how pets seem to understand the emotions of their "parents." The past couple of days have been busy and difficult for me. I am sure that my cats sensed it. Stewie, my orange tabby, is not normally a lap cat. He will lay next to me or even cuddle up against me, but often he does not sit on my lap. Last night Stewie climbed on my lap and he laid there for about two hours. While he was there I was trying to write last night's blog entry in my notebook. At one point Stewie stretched out and pinned down my arm so I could not write. It was like he was trying to say, "Just relax and watch television."
Later that night Jasper, my brown (grey) tabby, did something he does not normally do. I laid down to go to sleep and he jumped up on the bed and curled up next to my chest. Jasper slept there, next to me, almost all night.
I really do think that our pets are really in tune with our emotions. They seem to understand what we are feeling and they do things to help us feel better.
Later that night Jasper, my brown (grey) tabby, did something he does not normally do. I laid down to go to sleep and he jumped up on the bed and curled up next to my chest. Jasper slept there, next to me, almost all night.
I really do think that our pets are really in tune with our emotions. They seem to understand what we are feeling and they do things to help us feel better.
Thursday, March 24, 2011
Another review, another opinion
After reading Robert Battey's some what negative review of Hilary Hahn's recital I decided to see if there was a review of the recital in San Francisco. I found a review written by Joshua Kosman that was published in the San Francisco Chronicle. Mr. Kosman's review had a completely different tone. First off he praised Ms. Hahn's programming choices calling them "imaginative." He even claimed that this recital was the "highlight of the still young year."
Similar to Mr. Battey's review the Antheil and Ives Sonatas was a primary subject. Unlike that review Mr. Kosman enjoyed these pieces. He called the Antheil Sonata "a fascinating example of the anxiety of influence." The first movement is indebted to Stravinsky's L'Histoire du Soldat. In other movements Antheil moves into his "own inventive world, one marked by percussive rhythms quite different from the Stravinsky."
Mr. Kosman complements Ms. Hahn's versatility. He called the performance of the Beethoven "Spring" Sonata graceful, yet sinewy. He goes on to comment how Ms. Hahn embraces the virtuoso nature of the violin with Kreisler's Variations on a Theme by Corelli. She played the piece with a "fearless exhibition."
Overall, it appears as is Mr. Kosman enjoyed the recital. He did not consider the contemporary pieces as irritants. Instead he embraces the diversity of the programming choices rather than rejecting them outright. These two reviews provide examples as to why you cannot just listen to one critic or reviewer to formulate an opinion. It is important to either experience the music or event or if you cannot be there consider multiple sources.
Similar to Mr. Battey's review the Antheil and Ives Sonatas was a primary subject. Unlike that review Mr. Kosman enjoyed these pieces. He called the Antheil Sonata "a fascinating example of the anxiety of influence." The first movement is indebted to Stravinsky's L'Histoire du Soldat. In other movements Antheil moves into his "own inventive world, one marked by percussive rhythms quite different from the Stravinsky."
Mr. Kosman complements Ms. Hahn's versatility. He called the performance of the Beethoven "Spring" Sonata graceful, yet sinewy. He goes on to comment how Ms. Hahn embraces the virtuoso nature of the violin with Kreisler's Variations on a Theme by Corelli. She played the piece with a "fearless exhibition."
Overall, it appears as is Mr. Kosman enjoyed the recital. He did not consider the contemporary pieces as irritants. Instead he embraces the diversity of the programming choices rather than rejecting them outright. These two reviews provide examples as to why you cannot just listen to one critic or reviewer to formulate an opinion. It is important to either experience the music or event or if you cannot be there consider multiple sources.
Wednesday, March 23, 2011
Time in Memoriam - score finished
I am pleased to announce that the score for Time in Memoriam is finished. Today I completed the orchestration of the section between measures 156 and 182. I also added four measures starting at 186 to smooth out the transition to the next section.
The score, however, is not one-hundred percent complete. I still need to edit the score for dynamics, articulations and expressions. I will start by marking them on the printed draft of the score I printed today. The I can begin the laborious task of entering them into Finale.
I am really excited to have finally had the opportunity to complete the music for Time in Memoriam. I cannot wait to send the completed score to Lee Morrison.
The score, however, is not one-hundred percent complete. I still need to edit the score for dynamics, articulations and expressions. I will start by marking them on the printed draft of the score I printed today. The I can begin the laborious task of entering them into Finale.
I am really excited to have finally had the opportunity to complete the music for Time in Memoriam. I cannot wait to send the completed score to Lee Morrison.
Monday, March 21, 2011
Listening Journal: March 14-20, 2011
Edgard Varèse - Tuning Up (1947) for orchestra
Karlheinz Stockhausen - Live in Paris, October 17, 2009 - CD
Kreuzspiel (1951) for oboe, bass clarinet, piano and three percussionists
Fünf weitere Sternzeichen (1974/2007) for orchestra
Kontra-Punkte (1953) for ten instruments
Franz Schubert - Symphony No. 8 "Unfinished" (1822) Cleveland Orchestra, George Szell, conductor
Marc-Andre Dalbavie - Axiom (2007) for clarinet, bassoon, trumpet and piano
Jennifer Higdon - Blue Cathedral (2001) for orchestra
Anton Webern - Fünf Lieder, op. 4 (1909) for voice and piano
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Karlheinz Stockhausen - Live in Paris, October 17, 2009 - CD
Kreuzspiel (1951) for oboe, bass clarinet, piano and three percussionists
Fünf weitere Sternzeichen (1974/2007) for orchestra
Kontra-Punkte (1953) for ten instruments
Franz Schubert - Symphony No. 8 "Unfinished" (1822) Cleveland Orchestra, George Szell, conductor
Marc-Andre Dalbavie - Axiom (2007) for clarinet, bassoon, trumpet and piano
Jennifer Higdon - Blue Cathedral (2001) for orchestra
Anton Webern - Fünf Lieder, op. 4 (1909) for voice and piano
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Sunday, March 20, 2011
A Jaded Concert Review
It is disappointing when a concert or album reviewer/critic goes into a concert or a listening of a new album expecting things to be a particular way. When things do not go as expected the reviewer obsesses on what he or she did not like and they end up picking apart the performance. This is what I found when the other day I read a concert review of Hilary Hahn's recital at Strathmore Hall in North Bethesda, Maryland. The review was written by Robert Battey and published in The Washington Post. Upon reading the review it became clear that Mr. Battey is conservative and traditional in his musical tastes. The headline says it all: Virtuoso violinist Hilary Hahn holds her audience rapt but adds some irritants.
It seems that Mr. Battey's review is all about building up only to tear down. He talks about being in the presence of a rare instrumental talent only to turn around and say that Ms. Hahn "exudes little star power or charisma onstage." I do not know about you, but when I go to a classical music concert I am more concerned with great technique and playing in tune than star power. I have seen performers with great stage presence give mediocre performances. That is not what I want, but apparently that is what Mr. Battey wants.
The biggest "irritant" to me in this review is his critique of the program. He called it a program that "uncomfortably juxtaposed old standards with second-tier Americans. Charles Ives and George Antheil are the two Americans on the program. Does Mr. Battey infer that all American composer are second-tier or lower? I wonder because I do not consider Charles Ives as second-tier.
It is obvious that Mr. Battey had hoped for a "more traditional" recital. He spent about one-third of the review ranting about the Ives and Antheil pieces. He even attacks the performance of the Beethoven saying that the duo's "accents were wan and Hahn's staccatos were sticky rather than spiky" and claiming that the range of expression was narrow in the slow movement.
In the end, Mr. Battey did give high marks to Ms. Hahn's encore of the Bach B minor Partita. He called it "simply jaw-dropping in perfection." Yet he could not leave it there. True to his build up and tear down form he goes on to claim that a few of the tempos seemed slow and she was inconsistent with the repeats making the piece's structure incoherent. Though I wonder incoherent to who? Unless you know the piece backwards and forward, you probably would not even notice the "incoherent nature" of the structure.
All of this really makes me wonder what reviewers like Robert Battey want.
It seems that Mr. Battey's review is all about building up only to tear down. He talks about being in the presence of a rare instrumental talent only to turn around and say that Ms. Hahn "exudes little star power or charisma onstage." I do not know about you, but when I go to a classical music concert I am more concerned with great technique and playing in tune than star power. I have seen performers with great stage presence give mediocre performances. That is not what I want, but apparently that is what Mr. Battey wants.
The biggest "irritant" to me in this review is his critique of the program. He called it a program that "uncomfortably juxtaposed old standards with second-tier Americans. Charles Ives and George Antheil are the two Americans on the program. Does Mr. Battey infer that all American composer are second-tier or lower? I wonder because I do not consider Charles Ives as second-tier.
It is obvious that Mr. Battey had hoped for a "more traditional" recital. He spent about one-third of the review ranting about the Ives and Antheil pieces. He even attacks the performance of the Beethoven saying that the duo's "accents were wan and Hahn's staccatos were sticky rather than spiky" and claiming that the range of expression was narrow in the slow movement.
In the end, Mr. Battey did give high marks to Ms. Hahn's encore of the Bach B minor Partita. He called it "simply jaw-dropping in perfection." Yet he could not leave it there. True to his build up and tear down form he goes on to claim that a few of the tempos seemed slow and she was inconsistent with the repeats making the piece's structure incoherent. Though I wonder incoherent to who? Unless you know the piece backwards and forward, you probably would not even notice the "incoherent nature" of the structure.
All of this really makes me wonder what reviewers like Robert Battey want.
Monday, March 14, 2011
Listening Journal: March 7-13, 2011
Eric Ewazen - Colchester Fantasy (1987) for brass quintet
Witold Lutoslawski - Orchestral Works, volume 6 - CD
Symphony No. 1 (1947)
Silesian Triptych (1951)
Jeux Vénitiens (1961)
Chantefleurs et Chantefables (1991)
Postludiu, I (1960)
Edgard Varèse - Nocturnal (1961) for soprano, male chorus and orchestra
Frank La Rocca - Meditation (1991) for piano
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To purchase mp3 album from Amazon.com click here: Lutoslawski: Symphony No. 1 / Chantefleurs Et Chantefables
Witold Lutoslawski - Orchestral Works, volume 6 - CD
Symphony No. 1 (1947)
Silesian Triptych (1951)
Jeux Vénitiens (1961)
Chantefleurs et Chantefables (1991)
Postludiu, I (1960)
Edgard Varèse - Nocturnal (1961) for soprano, male chorus and orchestra
Frank La Rocca - Meditation (1991) for piano
To purchase CD from Amazon.com click image.
To purchase mp3 album from Amazon.com click here: Lutoslawski: Symphony No. 1 / Chantefleurs Et Chantefables
Sunday, March 13, 2011
Composing Session: March 12, 2011
Yesterday was the first productive day for composing I have had in over a month. I started by expending the orchestration of the section between measures 88 and 106 of Time in Memoriam. I also had to double check the consistency of the brass orchestration between measures 80-83 and 88-91. The intent is for these phrases to be repeats of each other. However in the process of orchestrating measures 88-91 I tweaked the brass orchestration to make the voice leading better, so I needed to be sure the two sections were the same.
I then took a look at the section between measures 135 and 151. This is a similar section to the one I was working on. I spent time expanding the orchestration and developing this section. Most of the orchestration and parts were similar to those at measure 88 so this was a fairly easy section to work on.
Later on Saturday night I was thinking about the section from measure 96 to 106. In this section I developed the brass theme by fragmenting it and putting extra space in the phrase. I started to think that it was a little too disjunct. I thought that I should tighten it up a little and make it more of a secondary phrase to the melody rather than a development.
So I did just that. I tightened up the phrase and it worked. I placed it as the second iteration of the brass theme. In the section starting at measure 135 there were, initially, two iterations of the brass theme, one a repeat of the other. To create a better continuity between these two sections I added the secondary phrase at measure 143.
Most of what remains is to orchestrate the sections starting at measures 107 and 159. These two sections have similar themes so the orchestrations will be similar, though not a direct repeat. After these two sections are completed I will need to go through to tighten up a couple of other sections that may not be as strong and then add the rest of the expressions and dynamics. There is a bit of work left, but at least now I can see the end.
I then took a look at the section between measures 135 and 151. This is a similar section to the one I was working on. I spent time expanding the orchestration and developing this section. Most of the orchestration and parts were similar to those at measure 88 so this was a fairly easy section to work on.
Later on Saturday night I was thinking about the section from measure 96 to 106. In this section I developed the brass theme by fragmenting it and putting extra space in the phrase. I started to think that it was a little too disjunct. I thought that I should tighten it up a little and make it more of a secondary phrase to the melody rather than a development.
So I did just that. I tightened up the phrase and it worked. I placed it as the second iteration of the brass theme. In the section starting at measure 135 there were, initially, two iterations of the brass theme, one a repeat of the other. To create a better continuity between these two sections I added the secondary phrase at measure 143.
Most of what remains is to orchestrate the sections starting at measures 107 and 159. These two sections have similar themes so the orchestrations will be similar, though not a direct repeat. After these two sections are completed I will need to go through to tighten up a couple of other sections that may not be as strong and then add the rest of the expressions and dynamics. There is a bit of work left, but at least now I can see the end.
Thursday, March 10, 2011
Listening Journal: February 28-March 6, 2011
Witold Lutoslawski - Orchestral Works, volume 5 - CD
Concerto for Orchestra (1954)
Three Poems by Henri Michaux (1964)
Mi-Parti for String Orchestra (1976)
Overture for Strings (1949)
Hilary Hahn - Higdon and Tchaikovsky Violin Concertos - CD
Hilary Hahn, violin, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko, conductor
Jennifer Higdon - Violin Concerto (2008)
Peter Ilyich Tchaikovsky - Violin Concerto in D major, op. 35 (1878)
Kaija Saariaho - Orion (2002) for orchestra
Edgard Varèse - Integrales (1925) for 15 instrumentalists
Johann Sebastian Bach - Sonata No. 3 in C major, BWV 1005 (1720) for violin, Hilary Hahn, violin
Arvo Pärt - Für Alina (1976) for piano
Arvo Pärt - Variations zur gesundung von Annushka (1977) for piano
Luciano Berio - Sequenza X (1984) for trumpet in C and piano resonance
Click image to order CD from Amazon.com
To order mp3 from Amazon.com click here: Higdon / Tchaikovsky: Violin Concertos [+Digital Booklet]
Concerto for Orchestra (1954)
Three Poems by Henri Michaux (1964)
Mi-Parti for String Orchestra (1976)
Overture for Strings (1949)
Hilary Hahn - Higdon and Tchaikovsky Violin Concertos - CD
Hilary Hahn, violin, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko, conductor
Jennifer Higdon - Violin Concerto (2008)
Peter Ilyich Tchaikovsky - Violin Concerto in D major, op. 35 (1878)
Kaija Saariaho - Orion (2002) for orchestra
Edgard Varèse - Integrales (1925) for 15 instrumentalists
Johann Sebastian Bach - Sonata No. 3 in C major, BWV 1005 (1720) for violin, Hilary Hahn, violin
Arvo Pärt - Für Alina (1976) for piano
Arvo Pärt - Variations zur gesundung von Annushka (1977) for piano
Luciano Berio - Sequenza X (1984) for trumpet in C and piano resonance
Click image to order CD from Amazon.com
To order mp3 from Amazon.com click here: Higdon / Tchaikovsky: Violin Concertos [+Digital Booklet]
Sunday, March 6, 2011
Sketch completed for Trackings No. 2, movement 6
Yesterday, I composed what will be the sixth movement of Trackings No. 2. When I began working on this piece my intent was to expand several movements of Birches for cello and bass. However, yesterday I was looking at a short sketch for piano I composed for a counterpoint class a few years ago. I thought that it would be an interesting basis for a movement of Trackings No. 2. I easily saw how I could incorporate the cello and bass in to this sketch. After working out the orchestration, I developed the rest of the sketch to finish the movement.
There are still two movements left to compose, the third and the fifth. I plan on composing these other two movements after I have finished the score for Time in Memoriam. My hope is to complete the rest of Trackings No. 2 by mid to late April.
There are still two movements left to compose, the third and the fifth. I plan on composing these other two movements after I have finished the score for Time in Memoriam. My hope is to complete the rest of Trackings No. 2 by mid to late April.
Thursday, March 3, 2011
Worth the wait
On Monday I was finally able to listen to a CD that I have been waiting to listen to since September: Hilary Hahn's new recording of the Jennifer Higdon and Peter Tchaikovsky Violin Concertos. I have always been luke-warm to Jennifer Higdon's music. Some is good, some is alright. I have not heard a piece of hers that blew me away. I do like her Concerto for Orchestra and Rapid Fire for flute, but I do not really remember much of her other music, though I know I have heard some.
This concerto, written specifically for Hilary Hahn, has given me a new appreciation for Jennifer Higdon's music. I will be making an effort to listen to her music a bit more.
The Tchaikovsky Concerto is a beautiful and brilliant piece that has a much maligned history. This piece is always worth the price of admission.
All in all I am happy that I finally was able to purchase and listen to this CD. While I wish I did not have to, this album is definitely worth the wait.
This concerto, written specifically for Hilary Hahn, has given me a new appreciation for Jennifer Higdon's music. I will be making an effort to listen to her music a bit more.
The Tchaikovsky Concerto is a beautiful and brilliant piece that has a much maligned history. This piece is always worth the price of admission.
All in all I am happy that I finally was able to purchase and listen to this CD. While I wish I did not have to, this album is definitely worth the wait.
Tuesday, March 1, 2011
A look ahead
With the sketch score for Time in Memoriam complete and the full score nearing completion I have started to think about what my next project(s) will be. First and foremost I need to finish Trackings No. 2, my second collaboration with Micheal Vickers.
I have recently been thinking about revisiting a couple of pieces I compose a while back. The first is Concerto for Bass Trombone and Chamber Orchestra. As it is I have always considered this piece the final movement of a larger piece. I have had various ideas overs the years for other movements. However, without a performance opportunity there is no real reason to compose this other than for myself. Lately, I have been thinking that maybe this is something I can work on with Jonathan Warburton, the bass trombonist who contacted me about a month ago.
The other piece is Off you go... my trio for flute, cello and percussion. I have always liked this piece, but like the Bass Trombone Concerto I view it as a larger multi-movement work. I have been talking with flautist Greer Ellison about composing a piece for her. Expanding Off you go... is an option I may explore.
In keeping with my current compositional focus I do need to start looking for another high school or junior high school band to compose a piece for. There are a couple of friends I am considering contacting, though I am unsure of who to contact first. Maybe I will just contact both and see what happens.
I have recently been thinking about revisiting a couple of pieces I compose a while back. The first is Concerto for Bass Trombone and Chamber Orchestra. As it is I have always considered this piece the final movement of a larger piece. I have had various ideas overs the years for other movements. However, without a performance opportunity there is no real reason to compose this other than for myself. Lately, I have been thinking that maybe this is something I can work on with Jonathan Warburton, the bass trombonist who contacted me about a month ago.
The other piece is Off you go... my trio for flute, cello and percussion. I have always liked this piece, but like the Bass Trombone Concerto I view it as a larger multi-movement work. I have been talking with flautist Greer Ellison about composing a piece for her. Expanding Off you go... is an option I may explore.
In keeping with my current compositional focus I do need to start looking for another high school or junior high school band to compose a piece for. There are a couple of friends I am considering contacting, though I am unsure of who to contact first. Maybe I will just contact both and see what happens.
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