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  4. new (symphonic) simulation with VSL sounds

  • new (symphonic) simulation with VSL sounds

    B
    B
    This is the scherzo from my 4th symphony. This is my 4th symhony out of 8, btw; all have long existed in simulation, but this is the 1st mvt to be redone with VSL. Others will follow ...

    http://www.musique.umontreal.ca/personnel/Belkin/scherzo.mp3
  • H
    H
    Alan,
    A thoroughly interesting listen. I've experimented in the past with a more atonal approach to composing and listened to a lot of stuff i simply couldn't connect with.
    I found your musically intelligent use of percussion illuminating, in particular the seldom used but great sounding soft mallet xylophone. The tonal structure of the theme at the start was interesting too, and i sense you've resisted the urge to go radically or mildly atonal, and found a balance i enjoyed a great deal.
    And importantly, this type of music can sound completely meaningless, and IMO you've cleverly and intelligently avoided this trap, with careful repetition and variation, and not wandered off onto another musical planet non of us have ever been to. The orchestration is superb, and in the process of listening, i cast my mind to alternatives and could find few, even given the infinite possibilities the theme offers.

    My only comment is with sound. The strings sounded at times too sweet, and i wonder if the aural picture would benefit from a slightly more raw sound, with more attack in selected passages. Where the clarinet comes in before the xylophone (about two thirds of the way through), and just before that again, i wonder if the attack in particular could be strengthened to contrast the W/W and mallet percussion. And going on from there, when the orchestration thickens a little, and you introduce the tenor (alto?) string line, if a 'rougher' sound would lift this further without adding anything else, or fiddling with the dynamics.

    I enjoyed this, and my compliments and respects to you on a work, that in my opinion, has musical class, and provides a refreshing and musically intelligent alternative to the modern days perpetual river of 'epic dirges'.

    Regards,

    Alex.
  • B
    B
    last edited
    last edited
    Glad you like it, and thanks for the comments!

    The other movements will eventually follow ...

    @hermitage59 said:

    Alan,
    A thoroughly interesting listen. I've experimented in the past with a more atonal approach to composing and listened to a lot of stuff i simply couldn't connect with.
    I found your musically intelligent use of percussion illuminating, in particular the seldom used but great sounding soft mallet xylophone. The tonal structure of the theme at the start was interesting too, and i sense you've resisted the urge to go radically or mildly atonal, and found a balance i enjoyed a great deal.
    And importantly, this type of music can sound completely meaningless, and IMO you've cleverly and intelligently avoided this trap, with careful repetition and variation, and not wandered off onto another musical planet non of us have ever been to. The orchestration is superb, and in the process of listening, i cast my mind to alternatives and could find few, even given the infinite possibilities the theme offers.

    My only comment is with sound. The strings sounded at times too sweet, and i wonder if the aural picture would benefit from a slightly more raw sound, with more attack in selected passages. Where the clarinet comes in before the xylophone (about two thirds of the way through), and just before that again, i wonder if the attack in particular could be strengthened to contrast the W/W and mallet percussion. And going on from there, when the orchestration thickens a little, and you introduce the tenor (alto?) string line, if a 'rougher' sound would lift this further without adding anything else, or fiddling with the dynamics.

    I enjoyed this, and my compliments and respects to you on a work, that in my opinion, has musical class, and provides a refreshing and musically intelligent alternative to the modern days perpetual river of 'epic dirges'.

    Regards,

    Alex.
  • G
    G
    Let's have a virtual 4th symphony party. I'm on 4, and have heard from others on their 4th.

    Within an overall very good movement, there are a few places that gave me pause: at around 1:50, things slowed down too much for my taste, rhythmically, melodically and harmonically. Same later, in a quick listen, 3:30+. That to me is a 'young composer' trait, though your participation here in other threads indicates not. Anyway, for a fast movement, slow and silent don't work, imo.

    Occasionally I wondered if real woodwinds would balance so strongly with the winds as your synth samples did, or if they might not fall into haphazard weak sounds. 7:13, suddenly heard what sounded like Stravinsky, don't remember whether Symphony of Psalms or Symphony in C. Was that a quote? Otherwise, very good! And you sustained a good long movement well.
  • JBacalJ
    JBacalJ
    Hi Alan--

    Your ultra-modern harmonic approach is a bit of a challenge for my age-enfeebled brain. But it's good to be challenged. [[;)]]

    I enjoyed the rhythmic vigor and complexity of the opening and closing sections very much. And I found the section with the woodwind solos (2:50) to be full of haunting emotion and tender beauty.

    Thank you for sharing your music.

    Best,
    Jay
  • PaulP Paul moved this topic from Orchestration & Composition on