Ingenius! Especially considering the beautiful fugal parts. But I would recommend you to rearrange the clarinet part for an oboe, which would fit the neo-baroque style much more. In addition you might just change the cello voice to a continued bass, adding the necessary figures for a real Bach-style composition! Have you considered contacting an orchestra working with historical instruments for a performance?
@nikolaiendresendahl Thanks for your comment! I agree with much of what you've said. I would have written this for a more standard Baroque instrumentation, but as explained in another comment, I serve to provide repertoire for the orchestra for which I am composing (SFU Chamber). And since we do not have oboists, but a huge abundance of clarinetists, I decided to try writing a solo for the clarinet. Same goes for the cello.
Wow, I only discovered this recently! Didn't realise you'd uploaded a new baroque composition. It's wonderfully written; I love your overture and gigue in particular. The fugue is very cleverly done and is reminiscent of Handel. The air is charming and the canon is very effective. The gavotte was lovely and light, and the energetic gigue at the end reminded me a lot of the last movement of Brandenburg 3 in structure and introduction of motifs. I have one suggestion only, which is to avoid doub
@zeryx28 - to finish off: avoid doubling the bass line quite as much in the solo cello (even though this was the done thing) because the chord voicing is quite sparse even though it could be filled out with continuo keyboard. Perhaps it could play more of a harmonic role. I think you can afford to experiment with this seeing as you do incorporate a clarinet which wasn't a period instrument (I understand you have no oboes so you had little choice there). All in all, excellent work!
@AytidaRed Thanks for your feedback. My decision to use double stops in the slow part of the overture for the solo cello was to add some challenge to the playing. However, as I have never played the cello before, I resorted mostly to the open strings. In a later edition, I will probably remove those extra notes. Thanks again! And please feel free to PM me, when you upload score videos too. I enjoy your work very much!
A very nice start in reproducing a work of that time period. BUT. . . May I make a couple of small suggestions? First, I suggest you do away with the Solo/Tutti markings and simply use solo throughout the trio. Second, Clarinet? Really? try another flute or use the oboe. Finally, use a Bassoon in the trio part and not a cello. Other than those few changes you have a really good work on your hands. A.Z.W., DMA, SThD, DTL.
@Chassid48 Thanks so much for your feedback! I see you have a bunch of titles listed at the end. Are you a professor?
Thanks for all your suggestions. The reason for the unusual instrumentation is due to my function to compose for the musicians I am working with (no oboe or bassoon), to provide repertoire. I enjoy extending Baroque forms into the present time using modern, available, instrumentation. Also the cellist is a close friend who had been hinting at a solo for some time. :)
@zeryx28 I do understand that one must use the instruments that are available at the time. I too have used rather "odd" combination. In response to your question. I am retired from university.
@Maspixxx Ah I remember that comment. Very flattering of you to say that!
I guess I would say that I am just very passionate about Baroque music. And there is only so much music that was written in the past, so part of the reason why I write Neo-Baroque music is to expand the repertoire for those who also enjoy hearing/playing this style. Also the school where I study is very "contemporary" so writing music for the SFU Chamber Orchestra is my alternative creative outlet.
@zeryx28 Passacaglia is an ancient musical form that consists in the repetition of an obstinate bass on which you can develop a generally counterpointal language. It differs from Ciaccona because of the fact that in Ciaccona the thematic line of the bass in not respected, but only the repetition of the same harmonic structure. In the great Bach's Passacaglia and Fugue for organ, he adds at the end another theme, which he combines with the one of the Passacaglia and which he treats in a fugualway
@zeryx28 This music reminds me also of Haendel. The Adagio maestoso is more Haendel than Bach and also in both fugues there's a certain touch of Haendel.
@CleverDjembe Yeah, whenever I think about Baroque music it's mostly absolute music. The fugue form itself is so mathematical that you can't help but perceive it objectively, as an intriguing puzzle. Interestingly, its musical aesthetic seems to emerge from the counterpoint itself.
amazing :D... remember me? I've subbed you for a while and learned Lilium with your sheet music score for piano :). Your amazing keep composing more pieces!
@zeryx28 its in my channel:D.... watch the Episode2 tormental. Tell me what you think of it and the Chopin piece i got nervous and played it bluntly. The Episode 2 tormental is a composition of 2 pianos
Ingenius! Especially considering the beautiful fugal parts. But I would recommend you to rearrange the clarinet part for an oboe, which would fit the neo-baroque style much more. In addition you might just change the cello voice to a continued bass, adding the necessary figures for a real Bach-style composition! Have you considered contacting an orchestra working with historical instruments for a performance?
nikolaiendresendahl 2 months ago
By the way: What program do you use for notating?
nikolaiendresendahl 2 months ago
@nikolaiendresendahl I use Sibelius 6.
zeryx28 2 months ago
@nikolaiendresendahl Thanks for your comment! I agree with much of what you've said. I would have written this for a more standard Baroque instrumentation, but as explained in another comment, I serve to provide repertoire for the orchestra for which I am composing (SFU Chamber). And since we do not have oboists, but a huge abundance of clarinetists, I decided to try writing a solo for the clarinet. Same goes for the cello.
zeryx28 2 months ago
@nikolaiendresendahl The SFUCO has performed this last December, but I would be very interested to work with a period orchestra too!
zeryx28 2 months ago
Comment removed
nikolaiendresendahl 2 months ago
Wow, I only discovered this recently! Didn't realise you'd uploaded a new baroque composition. It's wonderfully written; I love your overture and gigue in particular. The fugue is very cleverly done and is reminiscent of Handel. The air is charming and the canon is very effective. The gavotte was lovely and light, and the energetic gigue at the end reminded me a lot of the last movement of Brandenburg 3 in structure and introduction of motifs. I have one suggestion only, which is to avoid doub
AytidaRed 2 months ago
@zeryx28 - to finish off: avoid doubling the bass line quite as much in the solo cello (even though this was the done thing) because the chord voicing is quite sparse even though it could be filled out with continuo keyboard. Perhaps it could play more of a harmonic role. I think you can afford to experiment with this seeing as you do incorporate a clarinet which wasn't a period instrument (I understand you have no oboes so you had little choice there). All in all, excellent work!
AytidaRed 2 months ago
@AytidaRed Thanks for your feedback. My decision to use double stops in the slow part of the overture for the solo cello was to add some challenge to the playing. However, as I have never played the cello before, I resorted mostly to the open strings. In a later edition, I will probably remove those extra notes. Thanks again! And please feel free to PM me, when you upload score videos too. I enjoy your work very much!
zeryx28 2 months ago
A very nice start in reproducing a work of that time period. BUT. . . May I make a couple of small suggestions? First, I suggest you do away with the Solo/Tutti markings and simply use solo throughout the trio. Second, Clarinet? Really? try another flute or use the oboe. Finally, use a Bassoon in the trio part and not a cello. Other than those few changes you have a really good work on your hands. A.Z.W., DMA, SThD, DTL.
Chassid48 2 months ago
@Chassid48 Thanks so much for your feedback! I see you have a bunch of titles listed at the end. Are you a professor?
Thanks for all your suggestions. The reason for the unusual instrumentation is due to my function to compose for the musicians I am working with (no oboe or bassoon), to provide repertoire. I enjoy extending Baroque forms into the present time using modern, available, instrumentation. Also the cellist is a close friend who had been hinting at a solo for some time. :)
zeryx28 2 months ago
@zeryx28 I do understand that one must use the instruments that are available at the time. I too have used rather "odd" combination. In response to your question. I am retired from university.
Chassid48 2 months ago
Don't know how to say. Simply bravo.
dimdicng 4 months ago
Your counterpointal mastery is amazing, as I already told you for the Nokia fugue. Are you the reincarnation of Bach?
Maspixxx 4 months ago
@Maspixxx Ah I remember that comment. Very flattering of you to say that!
I guess I would say that I am just very passionate about Baroque music. And there is only so much music that was written in the past, so part of the reason why I write Neo-Baroque music is to expand the repertoire for those who also enjoy hearing/playing this style. Also the school where I study is very "contemporary" so writing music for the SFU Chamber Orchestra is my alternative creative outlet.
Thankyou.
zeryx28 4 months ago
@zeryx28 I think passion isn't enough to write such music, you must be very skilled as well.
Maspixxx 4 months ago
@Maspixxx Hahaha. All right, I'll admit that I'm above average. (And I also use Sibelius which has a plugin that catches all my parallel intervals.)
zeryx28 4 months ago
@zeryx28 When will you write a Passacaglia and Thema fugatum?
Maspixxx 4 months ago
@Maspixxx I'm actually not too familiar with that particular musical form. Would you mind telling me more? :D
zeryx28 4 months ago
@zeryx28 Passacaglia is an ancient musical form that consists in the repetition of an obstinate bass on which you can develop a generally counterpointal language. It differs from Ciaccona because of the fact that in Ciaccona the thematic line of the bass in not respected, but only the repetition of the same harmonic structure. In the great Bach's Passacaglia and Fugue for organ, he adds at the end another theme, which he combines with the one of the Passacaglia and which he treats in a fugualway
Maspixxx 4 months ago
@Maspixxx Interesting! I shall investigate.
zeryx28 4 months ago
@zeryx28 This music reminds me also of Haendel. The Adagio maestoso is more Haendel than Bach and also in both fugues there's a certain touch of Haendel.
Maspixxx 4 months ago
100% MUSIC!
CleverDjembe 4 months ago
@CleverDjembe Yeah, whenever I think about Baroque music it's mostly absolute music. The fugue form itself is so mathematical that you can't help but perceive it objectively, as an intriguing puzzle. Interestingly, its musical aesthetic seems to emerge from the counterpoint itself.
zeryx28 4 months ago
amazing :D... remember me? I've subbed you for a while and learned Lilium with your sheet music score for piano :). Your amazing keep composing more pieces!
PSNDemonwing 4 months ago
@PSNDemonwing Haha nice, you should post a video of your playing sometime. Would be happy to watch it! Thanks for dropping a line.
zeryx28 4 months ago
@zeryx28 its in my channel:D.... watch the Episode2 tormental. Tell me what you think of it and the Chopin piece i got nervous and played it bluntly. The Episode 2 tormental is a composition of 2 pianos
PSNDemonwing 4 months ago
Can't wait to hear this live!
mtsai6 4 months ago
@mtsai6 Me neither! The SFUCO concert is tentatively set for December 2. Hope it doesn't coincide with something else as usual lol.
zeryx28 4 months ago