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Thread: my first string quartet

  1. #16
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    Quote Originally Posted by MJTTOMB View Post
    I'm not sure if you're familiar at all with Hauschka/Volker Bertelmann (you mentioned that Bjork influences you, and Hauschka is on the same label as her). Your writing does remind me a lot of his style, settling neatly in between the worlds of art music and pop music without feeling cheap or contrived as so much pop music does.
    Yes, I have! But haven't paid as much attention, perhaps I should. Yes, regarding art/pop, one of my defining moments was when I decided to put aside cares about my enjoyment, influence, and participation in non-art music. It has meant that I'm no longer really "here or there" which I think is a) confusing for me, and b) sometimes confusing for an audience and so not always a productive thing, yet something of a necessity for me. It's not a matter for me of "borrowing" stuff from here or there but instead acknowledging my own immersion in it. Who knows if this is a good or bad thing?? Only time will tell!

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    Senior Member chee_zee's Avatar
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    That's the way I've started thinking as well, rather than being a classical snob or anything, I'm open to all kinds of music and treat whatever I write with equal fervour and eagerness. That does seem to be the way of the 21st century, besides the folk caught up in doing nothing but ultra noisy electroacoustic experimental stuff...which is good music, but is not the only form of music.

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    Senior Member Jeremy Marchant's Avatar
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    Quote Originally Posted by PetrB View Post
    I've already written to you, but did not say then this is fine string writing, idiomatic and getting a lot out of your instruments - you know them well.

    I repeat This Is Not A Single Movement, somewhat A B A as it generally is, from about 3' to 5' is some kind of 'developmental' section. That gives an impression other movements are to follow. As a last movement, development there would surely put the brakes on whatever forward momentum has been created in a multiple movement piece. Semiotic expectations are also very much against.

    This is incredibly 'dance-like' almost a pop music premise, without at all being a pastiche. Lively, fresh, very entertaining. What that could lead to, other than a 'formal' second slow movement, fast third, is a series of dance-like pieces, certainly acceptible since the baroque, and less limited as to 'tied in thought' from one movement to the next. John Adams' "Johns Book of Alleged Dances" comes to mind. [As one of a suite of dances, it has a better chance of succeeding as a final movement, though I still argue when you get down to any kind of 'development,' that is no longer what sits well as the final words.]

    I would not let it stand alone. If one of a suite, you've got a very strong opening play, and like the Adams' collection of pieces, there is nothing 'academically criminal' in presenting just one of those movements if an ensemble wished to program it. The whole suite has a chance of being programmed, and any one movement may get programmed - something very desirable, of course, for a young composer.

    I'd sit down and start writing some more, now, if this were mine and had come out as well as it has. Congratulations: but do add to this: one format, a middle and last, perhaps three more - one way to go // or a collection of dance-like movements, a suite - another way to go.
    Excellent music. I do agree with PetrB - it needs to be worked out into multi movement piece. I am less convinced this movement has to be the first - it would certainly make a fine finale if you can come up with something weightier as a first movement.

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    Senior Member Romantic Geek's Avatar
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    What a wonderful work! You have plenty of stuff here to make at least a 3-movement piece out of it. I definitely wouldn't put this first, but at the same time, I think the end might need to be tweaked a little if it's going to be a last movement. Just doesn't have the chutzpah of a final movement IMO.

    Love that B section. There is literally so much you can do with that material, especially in a really slow and lyrical movement. It would fit so nicely.

    Keep working at it. You've got everything there in that piece that you need to flesh this out.
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    Senior Member Couchie's Avatar
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    Sounds like a Olympic fanfare from an opening ceremony hosted in Ireland that's gone very, very wrong.

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    Senior Member chee_zee's Avatar
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    better than hans zimmer.

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    Quote Originally Posted by Couchie View Post
    Sounds like a Olympic fanfare from an opening ceremony hosted in Ireland that's gone very, very wrong.
    I'm afraid we have to set aside the intractable problem that any opening ceremony hosted in Ireland is bound to go wrong.

    But thank you for your compliment, capturing the energy of a fanfare with a string quartet is no easy task.
    chee_zee and Couchie like this.

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    Senior Member StevenOBrien's Avatar
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    Quote Originally Posted by Tomposer View Post
    I'm afraid we have to set aside the intractable problem that any opening ceremony hosted in Ireland is bound to go wrong.
    ...........

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    Quote Originally Posted by StevenOBrien View Post
    ...........
    Oh no! Don't worry I'm part Irish.

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    Senior Member Turangalīla's Avatar
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    I am amazed that Talk Classical is home to such fine composers! This was a wonderful work, and if I had heard it under the name of a famous, modern, 21st century composer, I would not have been disappointed. I do not think that it should stand alone—I would put it, as mentioned before, with some other movements or in a suite. This is tricky: because you have only written one movement, it has characteristics of both a first and third movement. If I had to pick, I would make it the first. I would actually make the whole thing a four-movement quartet, with the second movement being an impish, playful, scherzo-like movement in triple meter and a moderate tempo. I would make the third very slow; any gorgeous harmonies or part-writing you have up your sleeve would be welcome here. For the last, I would almost copy the final movement of the Brahms Quintet: starting slowly out of the mist, then gradually growing and becoming more apparent, then ending with a full-blown presto—we want some absolutely glorious measures leading up to the last chord. This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.
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  11. #26
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    Quote Originally Posted by CarterJohnsonPiano View Post
    I am amazed that Talk Classical is home to such fine composers! This was a wonderful work, and if I had heard it under the name of a famous, modern, 21st century composer, I would not have been disappointed. I do not think that it should stand alone—I would put it, as mentioned before, with some other movements or in a suite. This is tricky: because you have only written one movement, it has characteristics of both a first and third movement. If I had to pick, I would make it the first. I would actually make the whole thing a four-movement quartet, with the second movement being an impish, playful, scherzo-like movement in triple meter and a moderate tempo. I would make the third very slow; any gorgeous harmonies or part-writing you have up your sleeve would be welcome here. For the last, I would almost copy the final movement of the Brahms Quintet: starting slowly out of the mist, then gradually growing and becoming more apparent, then ending with a full-blown presto—we want some absolutely glorious measures leading up to the last chord. This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.
    I really appreciate all the positive comments. I'm sure you'll all empathise with how nice it is to get supportive feedback, being a composer demands a lot of self-determination even as your self-esteem waxes and wanes :-) I have had more than one person here encourage me to finish the music and so I think I'd better give it a shot. I'll report on my progress. Thanks all!

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    This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.
    Yes, I agree, and I was even conscious of that when I was writing it... even though it's a pretty hectic ending I wanted to hold a little in reserve. It could have a more definite end movement.

  13. #28
    Senior Member Sid James's Avatar
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    I enjoyed it. I like works like this, that have a kind of contemporary counterpoint. I am currently listening to string quartets by Nigel Westlake and Carl Vine. Your work has that kind of bright sound which I associate with our country. The Australian String Quartet is one of our finest ensembles. I think your work was brilliant in their hands. Well done and I look forward to the completed work.
    Last edited by Sid James; Jun-07-2012 at 09:37.

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    Quote Originally Posted by Sid James View Post
    I enjoyed it. I like works like this, that have a kind of contemporary counterpoint. I am currently listening to string quartets by Nigel Westlake and Carl Vine. Your work has that kind of bright sound which I associate with our country. The Australian String Quartet is one of our finest ensembles. I think your work was brilliant in their hands. Well done and I look forward to the completed work.
    Thank you very much Sid. You know I actually workshopped this piece with Carl Vine - his quartets are AMAZING and the ASQ (at that time) did an incredible job of them - got a private rendition actually!!!!

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