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Concerto for Piano and Orchestra in F Sharp Minor - Mvt 1.1
In celebration of my 300th watcher, I am now posting the first 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. In consider this work my Magnum Opus.
Due to the length of the first movement and the size restrictions, I have to post the piece in two sections.
Concerto for Piano and Orchestra in F Sharp Minor - Movement I: Allegro giocoso
Part I - Theme A, A', Theme B
Part II - Development, Recapitulation (A, Cadenza, B), Coda (http://www.furaffinity.net/view/6347207)
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 first movement is in Concerto-Allegro form.
Theme A is immediately presented by a Brass Fanfare that taxes each instrument. Around 0:40, the fanfare subsides and the Strings, both plucked and bowed, take up theme A in its first variation, a somber chromatic meditation. At 1:10, the woodwinds and strings play the second incarnation of theme A, briefly in a major key full of optimism. This eventually builds to tense note that is extinguished by a roll on the tympani.
The A' section begins with the Piano's introduction around 2:00. The theme A material is repeated with the same three sections, only now the first two sections are lively and dramatic, while the third section is expanded to allow th epianist and woodwinds a chance to be playful.
At 4:00 the music proceeds into a series of haunting major chords that eventually resolve into Db Major first intoned by the piano and French Horns. This is the first instance of the primary theme being heard in reverse. Three variations follow in which the piano and orchestra move from mystery to violence and then back to nostalgia. The music dies quietly away with a solo by clarinet and then flute that sees to recall the rhythmic theme from the opening.
The final chords played by French Horns and Piano lead straight into the Development Section which begins in the Second Part.
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
Due to the length of the first movement and the size restrictions, I have to post the piece in two sections.
Concerto for Piano and Orchestra in F Sharp Minor - Movement I: Allegro giocoso
Part I - Theme A, A', Theme B
Part II - Development, Recapitulation (A, Cadenza, B), Coda (http://www.furaffinity.net/view/6347207)
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 first movement is in Concerto-Allegro form.
Theme A is immediately presented by a Brass Fanfare that taxes each instrument. Around 0:40, the fanfare subsides and the Strings, both plucked and bowed, take up theme A in its first variation, a somber chromatic meditation. At 1:10, the woodwinds and strings play the second incarnation of theme A, briefly in a major key full of optimism. This eventually builds to tense note that is extinguished by a roll on the tympani.
The A' section begins with the Piano's introduction around 2:00. The theme A material is repeated with the same three sections, only now the first two sections are lively and dramatic, while the third section is expanded to allow th epianist and woodwinds a chance to be playful.
At 4:00 the music proceeds into a series of haunting major chords that eventually resolve into Db Major first intoned by the piano and French Horns. This is the first instance of the primary theme being heard in reverse. Three variations follow in which the piano and orchestra move from mystery to violence and then back to nostalgia. The music dies quietly away with a solo by clarinet and then flute that sees to recall the rhythmic theme from the opening.
The final chords played by French Horns and Piano lead straight into the Development Section which begins in the Second Part.
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 7.07 MB
Haha, not really, I tend to sit in the corner and brood over my computer so people stay away.
You do an excellent job with the overall flow, it doesn't seem to be jerky or spliced together. The beginning is a little sudden IMO but I like pieces that tend to build and crescendo more when they start. You carry a steady theme throughout the piece without becoming redundant and shift the focus between instruments rather well too. Some of the notes feel a little off but I'm guessing that's a combination of it being written on a computer, not actual instruments, and my cheap little speakers.
You do an excellent job with the overall flow, it doesn't seem to be jerky or spliced together. The beginning is a little sudden IMO but I like pieces that tend to build and crescendo more when they start. You carry a steady theme throughout the piece without becoming redundant and shift the focus between instruments rather well too. Some of the notes feel a little off but I'm guessing that's a combination of it being written on a computer, not actual instruments, and my cheap little speakers.
Thanks for going into more depth like that! I do try to make sure that the music flows naturally from one section to another. I worry over transitions a great deal, so I'm delighted to hear that you think it's one of the strong points!
One of the challenges of Classical Music is the constant development and representation of musical themes. I hope that by the time I get around to finishing the fourth and final movement that those themes will still feel fresh while at the same time giving cohesion to the work.
Thanks for sharing your thoughts! It really means a lot to me!
Dominus tecum
One of the challenges of Classical Music is the constant development and representation of musical themes. I hope that by the time I get around to finishing the fourth and final movement that those themes will still feel fresh while at the same time giving cohesion to the work.
Thanks for sharing your thoughts! It really means a lot to me!
Dominus tecum
Overall I really enjoy the piece. I think the only thing I can say bad about it is that perhaps that the midi sounds don't really do the piece as much justice as it deserves. I can obviously look past this and still see how this is a great piece. Another reason why I like this piece is that I feel like lots of composer of music of this genre tend to lack any direction in their music and I feel like it's just noise and no movement to it what so ever but not you. I feel you do a good job also with having a structure to your piece but without sacrificing expression and just having pure musicality. I feel like most composer I run into who try to stick too much to a form or structure start to lack in creativeness of things and start to just look at music as a math problem then it just doesn't feel natural music being produced anymore.
Overall though I really enjoyed it.
Overall though I really enjoyed it.
The midi is definitely the biggest drawback from experiencing this work, I agree. No doubt about that. I used Finale to write this, but I'm not very familiar with how to squeeze the best quality sound out of it.
Form in music is important in my opinion because it does give structure and can help you direct the expressive content in a familiar way. The Sonata-Allegro form and the Concerto are a perfect match for each other because both of them feature contrasts. The former in terms of thematic material that is presented, juxtaposed, and then resolved. The latter in terms of the contrast between Piano and Orchestra and their expressive capabilities.
That said, i concur that one also has to have some imagination when it comes to how to manage these materials. I've worked quite a bit of time on this piece, and I am thrilled that you enjoyed it so much, especially to share your thoughts on it!
I hope you heard both parts to this as well. The full First movement is over 17 minutes in length!
Thank you again for your lovely comment.
Dominus tecum
Form in music is important in my opinion because it does give structure and can help you direct the expressive content in a familiar way. The Sonata-Allegro form and the Concerto are a perfect match for each other because both of them feature contrasts. The former in terms of thematic material that is presented, juxtaposed, and then resolved. The latter in terms of the contrast between Piano and Orchestra and their expressive capabilities.
That said, i concur that one also has to have some imagination when it comes to how to manage these materials. I've worked quite a bit of time on this piece, and I am thrilled that you enjoyed it so much, especially to share your thoughts on it!
I hope you heard both parts to this as well. The full First movement is over 17 minutes in length!
Thank you again for your lovely comment.
Dominus tecum
Yes, and I've used it for some newer stuff, but I started the Concerto before I had the Garritan Library so I don't have it set up for it just yet. I've never been very good with managing that side of things. Putting the notes down, no problem. Getting the playback effects solid, not so much.
Dominus tecum
Dominus tecum
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