Chivalry

[PaulR]

http://vsl.co.at/english/demos/user_demos/William_Kersten/Chivalry.htm#

Here's a nice piece called Chivalry by Bill Kersten that Herb has just posted on the Demo Section. Well worth giving this a listen and a very nice piece compositionally. Has almost a Russian feel to me and a little filmic, sort of Red Oktober and I think this works very well.

PR

[JBacal]

Nice work, Bill! The piece builds to quite a stirring climax. And as always with your compositions, I appreciate the fact that they are built on themes and melodies and not solely on orchestral "tricks." [[;)]]

Best,
Jay

[James McWilliams]

@PaulR said:

http://vsl.co.at/english/demos/user_demos/William_Kersten/Chivalry.htm#

Here's a nice piece called Chivalry by Bill Kersten that Herb has just posted on the Demo Section. Well worth giving this a listen and a very nice piece compositionally. Has almost a Russian feel to me and a little filmic, sort of Red Oktober and I think this works very well.

PR

sounds good to me [:D]

[mathis]

Hey Bill, didn´t you want to make only soft stuff for the rest of your life? Couldn´t hold it back, right?.... [[;)]]

[William]

Thanks for those nice comments.

Yes Mathis, I guess it did get a little over pianissimo. Though I'm feeling better now. I won't let it happen again, I promise.

[PaulR]

@William said:

Thanks for those nice comments.

Yes Mathis, I guess it did get a little over pianissimo. Though I'm feeling better now. I won't let it happen again, I promise.

I like the softer sounds on these demos. The old blaring brass demos have been done a lot, and whitst I enjoy these too, these kind of themes like Chivalry juxtapose things and restore an interesting balance.

[mathis]

@William said:

Thanks for those nice comments.

Yes Mathis, I guess it did get a little over pianissimo. Though I'm feeling better now. I won't let it happen again, I promise.

I like the softer sounds on these demos. The old blaring brass demos have been done a lot, and whitst I enjoy these too, these kind of themes like Chivalry juxtapose things and restore an interesting balance.

I was just kidding, of course. [[;)]]

[PaulR]

[quote="mathis

I was just kidding, of course. [[;)]][/quote]

It's alright. I know. Don't worry. There's nothing to worry about. No need to panic. Take it easy. Breathe slowly and evenly. Smoke a cigarette. Bake a cake. [H] [:D] [6]

[dpcon]

Wow, that's a nice piece of music. Full of subtleties and understatement. Very clearly presented. There are some absolutely beautiful passages. As with all Bills work it's classic and new at the same time. I think the guy is a terrific composer. He has lots more to say musically as indicated by the wealth of expression in Chivalry.

Dave Connor

[William]

O.K., this Incredibles composer has got enough attention from off topic discussion. He's also made a lot of money so here's another thread to use. [[;)]]

"And all those great masters like Ligeti or Vaugh Williams or The Beatles or whoever will be interesting branches with loose ends. But he will be able to make a straight line from him to Satie. So Satie will be the one featured as the most important figure for them in fifty years." - mathis

This is probably true, however, it assumes one naive concept that is ALWAYS assumed in Western culture.

Progress.

I deny the importance of progress. It is 19th century Industrial Revolution concept that is applied inappropriately to art. What is wrong with loose ends? So what if a composer is an interesting little sideshoot in musical history. Is a composer who is part of the main thrust of history better? I deny that also. Many of my favorite writers, artists as well as composers are oddballs who were off the beaten track and didn't create "history" but instead did something unique of their own within it.

Also, JBM, I sense that though you don't admit it, you are attempting to discover what the "real" music of this time is and then write only that.

That is absolutely impossible to do. One cannot know what the most significant work will be in any art form. Ludwig Spohr and his many admirers thought he was the equivalent of Beethoven and Brahms in his day and you say his name today and people respond with "Who?" All one can do is write or do what one is DRIVEN to do by intuition and feeling. Or if a concept is particularly exciting. But this overly intellectual determination of what the "REAL" or "SIGNIFICANT" music one SHOULD be writing - is highly questionable.

[mathis]

@William said:

This is probably true, however, it assumes one naive concept that is ALWAYS assumed in Western culture.

Progress.

I couldn´t agree more, as I stated here quite often before (if I remember right). So probably it was a bit weird backing up this musicologists statement.

Anyway I will be basically off this forum for the next ten days. Have some pleasure over the days, you all!

Bests,
- Mathis

[gugliel]

Chivalry is very lovely, growing nicely, too. I think I wanted a little more motor rhythm underneath, as Beethoven would have done, toward the middle and before the bigger noise. The section at around 2 minutes, while clearly coming from the music before, somehow seemed infected with a virus from some popular music or other. Bernstein's music, to me, always seems infected with these viruses, so it may be something in my wiring not in your music.

I DISAGREE with your philosophy, above -- I think it's important to strike out for individual artistic progress! But also believe in the value of dissension-as-catalyst.

[Rob Elliott]

First - this is a wonderful composition. I really enjoyed its development (maybe the 'motor' kinetics underneath would be a nice add.)

The slower string work up front is thin and nasal sounding to my ears. I have the same problems more than not. Can anyone recommend EQ / GP setting to 'smooth' this out a tad.

Sorry for the the highjack - a very well done composition.

Rob

[William]

Thanks Dave, Gugliel and Rob for those kind comments.

I agree on that "motor work" - good idea.

Also, the thinness of the strings - something difficult to deal with. I don't think it's in the samples, but happens somehow in the mix and the only solution I have found so far is layering. I used no layering on this in the strings because I had my hands full with the other instruments. I wonder if you have the same reaction to the "Elegy" or "Haunted Mind" pieces of mine on the demos. These I tried to get a fuller sound in the strings (though they are much quieter pieces) and used some Chamber Strings and Solos layered with ensemble.

I guess JBM isn't taking the bait. Darn!