A Thematic Catalogue of My Works Part III: Overtures/Stand Alone Orchestral Works
by, Jan-07-2012 at 06:16 (976 Views)
To continue my long thematic catalogue of my works I will now describe my compositions that fall under the category of overtures and stand alone orchestral pieces. I am glad there are more pieces here from my so called "avant-garde period."
Concert Overture no. 1 in F major (2008)
Description: This was one of my earliest ventures into the sonata form. This overture was originally only for two horns, percussion and strings, but in later revisions I made that year, I added trumpets and trombones. This composition is so terrible it makes me want to pull the hair out of my head in anger.
"The Swineherd" Overture 1 (to an abandoned opera) in C major (December 2008)
Description: I decided to include this overture because it (and a few numbers from Act I) are complete even though I have attempted to rewrite it in 2010. The opera was based on a story of the same name by H.C. Anderson whose works have often influenced my compositions.
Concert Overture no. 2 in C major (2009. Completed a few weeks after the Cello Concerto.)
Instrumentation: 18.104.22.168-0.2.0.0.-Perc.(Timp, Triangle, Cymbals, S.D., B.D)-Str.
Description: This was written for a competition that I didn't win. I'm not surprised. It was yet another work for orchestra in sonata form that doesn't break any rules of harmony and sounds like it was written in the 18th century.
Piece for Chamber Orchestra (January or February 2010)
Instrumentation: 2 Piccolos, 4 trumpets, Twelve timpani (pitched F#, G, G#, A etc. all the way up to the next F natural), tubular bells, whip, cymbals, eight violas (four firsts, four seconds.)
Description: This is possibly the scariest thing I have ever written. It is not strictly dodecaphonic but uses a note row (with its retrogrades and inversions etc.) that is incorporated in the music. I found the strange instrumentation interesting and wanted to use it again in a lot of other works, but I decided not too as the amount of timpani that I used makes it quite inaccessible. (Not to say that the music itself was inaccessible anyway.) This was also the first time I ever used any serial elements in my music.
"The Swineherd" Overture 2 (to an abandoned opera) (February or March 2010)
Instrumentation: the same as the above Piece for Chamber Orchestra.
Description: I decided that I was determined to compose this opera "The Swineherd" so, because of my sudden (and dramatic) change in style, I wrote another overture, hoping that I would complete the entire opera that year. I ended up only writing the overture because the fact that I had been trying to write it since the end of 2008 really got on my nerves. I decided I would abandon it completely after starting two more versions (each for chamber ensemble) that I never wrote more than eight bars of.
A Short Movement for Three Orchestras (November 2010)
Instrumentation: Can't find the manuscript in my large unorganised pile of music and mess (ie. my bedroom), so I can't exactly say. I know it was something weird for each orchestra though.
Description: This work is a cycle of patterns (with a different group of patterns for each orchestra) that swap around ... somehow ... I dunno it's too complicated for me! Anyway this piece was originally intended for a symphony for three orchestras that I never got round to composing because of other more important things. I have renamed the work "A Short Movement for Three Orchestras" but I still intend on writing a completely new symphony for three orchestras later in life.
Eight Pieces for Eighty Musicians (November 2011 hopefully (if I win) to be premiered sometime this year)
Description: This is definitely the best orchestral work I have ever written. I am very proud of my output in 2011. I wrote these eight pieces for a composition competition to celebrate 80 years of the Sydney Symphony Orchestra, Sydney Harbour Bridge and the Australian Broadcasting Corporation. If I win, the piece will be performed by the SSO, under the baton of their chief conductor and world renowned pianist, Vladimir Ashkenazy! Here he is right here:
The work focuses on motifs I created from the acronyms SS (Sydney Symphony), SHB (Sydney Harbour Bridge) and ABC (Australian Broadcasting Corporation) Each piece continues into the next one without stopping. Here is a quick description of the instrumentations and ideas I used in each piece.:
1. For full winds, brass and percussion but solo strings quartet. 24 instruments in total (the amount of musicians the SSO had when they first formed in 1932)
2. For full orchestra.
3. For 60 solo strings
4. For winds.
5. For brass
6. For percussion. This is the first of the three pieces that tell the story of the opening of the Sydney Harbour Bridge
7. For full winds, brass and percussion but solo strings.
8. For full orchestra. Big loud finale.