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Concerto for Piano and Orchestra in F Sharp Minor - Mvt 2.2
In celebration of my 400th watcher, I am now posting the second movement of my Concerto for Piano and Orchestra in F Sharp Minor. This musical work is without compare my greatest musical composition in terms of scope, orchestration, technique, form, and thematic development. It began life in 1999 as my Piano Sonata in F Sharp Minor (http://www.furaffinity.net/view/4684333/) but within two years had turned into a full-fledged Romantic Era Piano Concerto. I consider this work my Magnum Opus.
The First Movement is available here:
http://www.furaffinity.net/view/6347195/
http://www.furaffinity.net/view/6347207/
Concerto for Piano and Orchestra in F Sharp Minor - Movement II: Fast and Jumpy
Part I - Intro, Theme A, Modulating Bridge, Theme B, Closing Theme, "Trio" (http://www.furaffinity.net/view/10206818/)
Part II - Recapitulation, Coda
The music is based around a two note, four note, and six note theme. F# - G# / G# - A / B - C#. This theme and its subthemes are reversed and inverted throughout all four movements.
The second movement is a Scherzo, and it blends the Scherzo-Trio form with Sonata-Allegro form with the trio section taking the place of the Development section.
Continued from Part I...
0:00 - The recapitulation reprises the intro material, theme A, the modulating bridge, theme B, and the closing theme with numerous developmental changes such as instrumentation, key, and with an overall tightening of the musical flow. Instead of the closing material building to a climax in a major key, it transition back to B Minor and climaxes in a full orchestral tutti for the theme that anybody who is a fan of classical music should recognize (3:26). This is followed by the incessant repeat of the two-note theme which again ends in a false cadence.
3:49 - The coda gives a brief restatement of the mystical trio theme now in a minor key. The strings play col lengo (with the wood on the strings) to create an eerie effect as the music sinks away. One last flourish from the piano ends the movement on the same two notes with which it began (B - C#).
The Orchestration:
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons
4 French Horns
4 Trumpets in C
2 Trombones
1 Bass Trombone
1 Tuba
Tympani
Bass Drum
Harp
Celeste
Glockenspiel
Grand Piano
Violins I, II
Violas
Cellos
String Basses
Dominus vobiscum
The First Movement is available here:
http://www.furaffinity.net/view/6347195/
http://www.furaffinity.net/view/6347207/
Concerto for Piano and Orchestra in F Sharp Minor - Movement II: Fast and Jumpy
Part I - Intro, Theme A, Modulating Bridge, Theme B, Closing Theme, "Trio" (http://www.furaffinity.net/view/10206818/)
Part II - Recapitulation, Coda
The music is based around a two note, four note, and six note theme. F# - G# / G# - A / B - C#. This theme and its subthemes are reversed and inverted throughout all four movements.
The second movement is a Scherzo, and it blends the Scherzo-Trio form with Sonata-Allegro form with the trio section taking the place of the Development section.
Continued from Part I...
0:00 - The recapitulation reprises the intro material, theme A, the modulating bridge, theme B, and the closing theme with numerous developmental changes such as instrumentation, key, and with an overall tightening of the musical flow. Instead of the closing material building to a climax in a major key, it transition back to B Minor and climaxes in a full orchestral tutti for the theme that anybody who is a fan of classical music should recognize (3:26). This is followed by the incessant repeat of the two-note theme which again ends in a false cadence.
3:49 - The coda gives a brief restatement of the mystical trio theme now in a minor key. The strings play col lengo (with the wood on the strings) to create an eerie effect as the music sinks away. One last flourish from the piano ends the movement on the same two notes with which it began (B - C#).
The Orchestration:
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons
4 French Horns
4 Trumpets in C
2 Trombones
1 Bass Trombone
1 Tuba
Tympani
Bass Drum
Harp
Celeste
Glockenspiel
Grand Piano
Violins I, II
Violas
Cellos
String Basses
Dominus vobiscum
Category Music / Classical
Species Unspecified / Any
Size 120 x 92px
File Size 4.07 MB
Why thank you, Xeno! I'm so glad you have enjoyed my music like this. That bit around 2:30 is one of my favorite bits too. I love the piano arpeggios that seem to come out of nowhere at that point and just thunk at the end!
I am honored to be associated in anyway, even by flashback, with Fantasia. Thank you!!
Dominus tecum
I am honored to be associated in anyway, even by flashback, with Fantasia. Thank you!!
Dominus tecum
Okay, sweet, got around to this one too. This is the best part of the piece so far: unexpected modulations, good energys...
My concern right now is the orchestration, though. At the beginning of the movement and the recap, are those horns that go up to that F# in the orchestra part? I don't want to jump to conclusions just yet because I know that .MIDI can be a deceptive mother, so I won't comment further on that until you get back about that.
But yeah, apart from some possibly iffy orchestration, good concerto so far.
My concern right now is the orchestration, though. At the beginning of the movement and the recap, are those horns that go up to that F# in the orchestra part? I don't want to jump to conclusions just yet because I know that .MIDI can be a deceptive mother, so I won't comment further on that until you get back about that.
But yeah, apart from some possibly iffy orchestration, good concerto so far.
Thank you very much! I had a ton of fun writing this movement,
Yes, the French Horns are playing really high at the beginning and the recap. When I get around to doing some cleanup work on this and fixing some of the orchestration issues I'll likely drop that line down an octave.
Did you hear the quotations?
Dominus tecum
Yes, the French Horns are playing really high at the beginning and the recap. When I get around to doing some cleanup work on this and fixing some of the orchestration issues I'll likely drop that line down an octave.
Did you hear the quotations?
Dominus tecum
Yeah, it sounded like it.
Yeah, I think I can count the number of horn players in this world that would be able to hit that note on one hand. If you want, I could go through the score as it is and give some orchestration suggestions for when you do the clean-up.
*raises eyebrows* Quotations? I think I missed 'em, actually...
Yeah, I think I can count the number of horn players in this world that would be able to hit that note on one hand. If you want, I could go through the score as it is and give some orchestration suggestions for when you do the clean-up.
*raises eyebrows* Quotations? I think I missed 'em, actually...
The issues with orchestration are pretty much restricted to the Brass, notably Trumpets and Horns, where I have them playing far too high. I've started to redo the first movement with an extra high trumpet in A to handle those high notes where the melodic line forces it to go. Sadly, I've not gotten very far with it as I tried to increase the size of the woodwinds to balance to the brass section and that means relearning what chords I used, and that takes time, etc... I'll get to it one day. Do you use Finale?
As for the quotations, I noted one in the description (George Lloyd's Scapegoat Concerto) because I figured that was too esoteric for anybody to notice. You should definitely pick up at least one of the other three.
Dominus tecum
As for the quotations, I noted one in the description (George Lloyd's Scapegoat Concerto) because I figured that was too esoteric for anybody to notice. You should definitely pick up at least one of the other three.
Dominus tecum
I think I have it on 2010 actually, that's when I got Finale. And true about the PDF. Perhaps this coming weekend I can give that a try. Lots to clean up here after Anthrocon still. I also hope to get the Adagio movement to this concerto posted soon.
Did you have a chance to listen for my musical quotations?
Dominus tecum
Did you have a chance to listen for my musical quotations?
Dominus tecum
Rachmaninoff was one of my first loves in Classical Music so it is only appropriate! Besides, it fit perfectly with my themes so it naturally had to be used (and it shows up almost right away actually, as well as in the trio section, but it's only blatant there at the end and boy do I love that bit at the end). There's also some Elgar and Bruckner in there too.
Dominus tecum
Dominus tecum
Eh, Rachmaninoff is one of those composers that I can be a bit iffy about. Some of his piano music is a bit iffy for me, but on the other hand Isle of the Dead is a pretty awesome piece, so I do enjoy some of his stuff. Now if only Glazunov hadn't been a dick to Rachmaninoff...
Hm, I missed the Elgar and Bruckner. But then again, I know almost nothing of Bruckner's work. In that part of music history, I'm much more of a Wagner buff, so...
Hm, I missed the Elgar and Bruckner. But then again, I know almost nothing of Bruckner's work. In that part of music history, I'm much more of a Wagner buff, so...
One of the first pieces I learned was the C# Minor Prelude. I also at one point knew the G Minor from memory (many years ago). Rachmaninoff always holds a special place in my heart. His first Symphony is one of the jewels of the literature; Glazunov definitely blew that one badly! (Irony of course being that almost none of Glazunov's works are remembered anymore, though I am very fond of his 4th Symphony).
Well you seem to have a thing for Opera, so it is hardly surprising. I adore Bruckner and can see how he was to the Symphony what Wagner was to Opera. The quotation is from Bruckner's 4th Symphont, and it's really very quick and easy to miss. The Elgar is obvious if you know his Second Symphony.
Dominus tecum
Well you seem to have a thing for Opera, so it is hardly surprising. I adore Bruckner and can see how he was to the Symphony what Wagner was to Opera. The quotation is from Bruckner's 4th Symphont, and it's really very quick and easy to miss. The Elgar is obvious if you know his Second Symphony.
Dominus tecum
Hm... You might find this amusing, then: https://www.youtube.com/watch?v=ifKKlhYF53w
Yeah, I have a huge thing for opera. Well, for theatrical work in general, but especially opera. I had season tickets to the local opera company all the years I was in high school, and before then I went to the opera pretty frequently as a little kid. I remember one of my early things was seeing Boris Godunov with James Morris in the title role at 9 years old. Crazy experience, I'm telling you.
Hm... You still want me to check the orchestration of the whole thing, or...?
Yeah, I have a huge thing for opera. Well, for theatrical work in general, but especially opera. I had season tickets to the local opera company all the years I was in high school, and before then I went to the opera pretty frequently as a little kid. I remember one of my early things was seeing Boris Godunov with James Morris in the title role at 9 years old. Crazy experience, I'm telling you.
Hm... You still want me to check the orchestration of the whole thing, or...?
Yeah, I thought you might like that.
Seeing Wagner, huh? Advice: make sure you stay well-nourished throughout. You know how insanely long those things can be, I trust? I actually still haven't seen a Wagner opera live yet. I did get the opportunity to see the Met Live in HD broadcasts of the two operas that comprise the second half of the Ring cycle, though, so that was a fun adventure. Yeah, not every day you get to nom on popcorn at the opera, yeah?
Okay, sweet! Looking forward to that note!
Seeing Wagner, huh? Advice: make sure you stay well-nourished throughout. You know how insanely long those things can be, I trust? I actually still haven't seen a Wagner opera live yet. I did get the opportunity to see the Met Live in HD broadcasts of the two operas that comprise the second half of the Ring cycle, though, so that was a fun adventure. Yeah, not every day you get to nom on popcorn at the opera, yeah?
Okay, sweet! Looking forward to that note!
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