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  • Pierlala Again... Ttribute to a free mind

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    Hi dear listeners,

    It has been a while since I posted something here, but finally I can present a brand new work. This is the first time that I realise a composition of that orchestral size with only VSL instruments. It may require some clarification:

    Pierlala is fictive person who lived several times in Flemish history. With every occupation by a foreign country (and there were many!), he appeared again (reborn or stood up from the tomb) and commented fiercely on the rulers, politicians, nobility, the upper class... His most popular way to do so was humor or even sarcasm with which he gathered many followers and supporters. He thus became a threat for the ruling class and was sometimes murdered for his revolt or his not so harmless jokes.

    In my piece I chose to present Pierlala in different characters from birth to death and rebirth... In between you will hear a lot of aspects of his lives, but I concentrated mainly on the period around the French Revolution. A folk song from that era about him figures as the main theme through the composition.

    I would not consider this work as decriptive or program music, I prefer to call it 'suggestive'. You're free to fill it in with your own imagination. The score though mentions some 'hints'.

    The orchestration was entirely realised with VSL instruments (orchestral strings, chamber strings, woodwinds, brass, percussion).

    Pierlala Again... Tribute to a free mind

    Max


  • Max,  that is a very impressive composition, and a great idea for doing a lot of variation and changes of mood and orchestration.  I think it would certainly be enjoyed by audiences and valuable as a depiction of the historic/mythic figure.   


  • Hey Max, Your work here is an enjoyable sonic adventure which chronicles the life of this Pierlala. Every small "movement" is like another chapter in a book detailing the character's trials and tribulations. Unfortunately I could only listen through my phone's speaker so I can't comment on production or MIDIstration but I enjoyed the music so congratulations and I look forward to more.

  • Thanks, William and Jasensmith.

    In my introduction, I forgot to mention that one small part has been adapted from the D. Aubert opera: "La Muette de Portici" (written in 1828), more specific the song "Amour Sacré de la Patrie" (blessed love for the nation). I've rearranged and shortened the opera song to fit in my composition. That piece was of huge importance to my country. It was the start of the Belgian Revolution in 1830. Belgium was then occupied by the Dutch  and after that short revolution, it became independant. It was the only performance of that opera in Belgium. It hasn't been programmed eversince because of the risk of political troubles (not all 'Belgians' are happy with the existance of the country like it is now...).

    I thought this would be a perfect topic for Pierlala to comment on...

    Max


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    Hi Max,

     

    Great performance of a great idea !

    It's an amzing work !! So many styles for all these variations, i like each of them ! Special mention for the fuga, and of course the wink on the french revolutionnary anthem "La marseillaise"  😃😉 . The mix is very clear and the balance very good.

    Congratulations for this great job you can really be proud of.

    Best.

    Philippe.


  • I enjoyed it very much. Thank you for sharing this.


  • Thanks, Philippe and Paul. I've worked a lot on the mix and balance, the articulations and dynamics. I'm glad you like it, so all the effort was worth the while.

    Today, changed the version but the link is still the same. Some minor corrections and a little change in EQ'ing.

    Max


  • Hi Max,

    I very much enjoyed this.  Clean, clear orchestration, which I value. 

    Jerry


  • Thanks Jerry.

    I wasn't quite satisfied with the sound, so I continued working on the mix and mastering. In short delay I will post the next version, which should be opener and more transparent.

    Kindly,

    Max


  • PaulP Paul moved this topic from Orchestration & Composition on