I have finished orchestrating the second song of my lieder cycle - my FIRST cycle SUCK THAT! lol. However the final... result... is a bit worrying. The first two thirds turn out all right, which means it pretty much what I "heard" while I was composing the piano score. On the other hand, the final third...
Let me walk you through this. I composed this second song basically for an assoluta: the first third is tender and lyrical; the second third is basically a spinto scream - not really, but it's made up of a very long crescendo passage against a tutti orchestra; the third passage is full of coloratura. My idea is the middle section is the warm-up for the third section. I have certain difficulties writing the third part: the standard instrumentation, even in modern Classical music, for coloratura passages, is sparse, and nothing is more sparse than pizzicato, right? As it turns out, the passage ended up sounding too "cut-and-paste", like I edited it with a rap beat mixer or some shit like that. I like the sound, but I'm not certain if it's viable artistically, you know. I don't want in some distant future some Karajan wannabe saying "What the fuck did he think?" while he's reading my score, the sweat of my brow, the child of my loins, the jizz of my...
You get it.
Maybe I'll rearrange it. Maybe I won't.
But I really like the first third of the song. It's very Rachmaninov. I'm totally going through a Rachmaninov phase right now! The only thing I'm missing are the saggy eyebags and the really long scary-as-fuck fingers.
On the other hand, on purely instrumental terms, I like the third section best. It's really me, circa 2007-2008 a.k.a. The Not-Fast-Enough Figures Era.
Ah well. I suppose I can re-do it. The problem is time - I'm on surgery posting right now, and around here that is just another code to say "I'm fucked and hanging on a cross like Xena before all that lesbian crap".
Let me walk you through this. I composed this second song basically for an assoluta: the first third is tender and lyrical; the second third is basically a spinto scream - not really, but it's made up of a very long crescendo passage against a tutti orchestra; the third passage is full of coloratura. My idea is the middle section is the warm-up for the third section. I have certain difficulties writing the third part: the standard instrumentation, even in modern Classical music, for coloratura passages, is sparse, and nothing is more sparse than pizzicato, right? As it turns out, the passage ended up sounding too "cut-and-paste", like I edited it with a rap beat mixer or some shit like that. I like the sound, but I'm not certain if it's viable artistically, you know. I don't want in some distant future some Karajan wannabe saying "What the fuck did he think?" while he's reading my score, the sweat of my brow, the child of my loins, the jizz of my...
You get it.
Maybe I'll rearrange it. Maybe I won't.
But I really like the first third of the song. It's very Rachmaninov. I'm totally going through a Rachmaninov phase right now! The only thing I'm missing are the saggy eyebags and the really long scary-as-fuck fingers.
No comments:
Post a Comment