Post by Kevin on Nov 1, 2013 15:23:30 GMT
War
MV 1 Judges 7-4-9=21John Biggs
War:
The composition has unfortunately more effects than musical motives as such. It becomes a bit tedious after the beginning but becomes a bit more interesting later on. In sections the work is more exciting (or rather "excited") than deeply moving. Composer needs to include more structure to the work.
WW1 100 Anniversary
(WAR - Title missing on score).
General Comments.
The programme notes clearly outline the composer's intentions and set the scene for what is to follow. The score is accurately laid out and well presented and the writing is bold, adventurous and innovative, revealing a competent, experienced and intelligent musician. The composer is clearly at home writing for this particular genre; he has ensured that the solo violin and 'cello are given due prominence throughout and the overall effect is at once pleasing, enjoyable and atmospheric.
Compositional Techniques.
The composer obviously has an inventive and adventurous mind. He possesses the technical freedom to explore a range of writing styles, passing comfortably through various keys and time signatures in the process. Comprising numerous sections written as one continuous movement, the writing throughout is relatively free and rhapsodic in outline, though he has been particularly careful to ensure that much of the original opening material is subsequently reintroduced, developed and reworked in different guises. For example the opening statement reappears in the bass line at bar168 against an ostinato figure (which in turn is followed by the letter B canonic 7/4 melody) and repeats once again towards the end from bar 268. This approach results in a logical, coherent and satisfying composition.
Technical Issues.
Letter B - I feel the 7/4 time signature here really is unnecessary - 3/4 alternating with 4/4 would achieve the same result and is less complicated for both players and conductor alike. There is no need for a confirmatory time signature at letter E (still 3/4), though I would recommend confirming the F natural in bar 125 after the numerous bars of F sharp.
There are a number of small inconsistencies e.g. bar 105 (solo 'cello) why B flat when the key signature is B major? (A sharp); bar 167 (Vln 2) why A sharp and D sharp when key signature is B flat? Also prevalence of D sharps when key is B flat (bars 168-170) and finally bar 259 Eflat is preferable to Dsharp (top 3 lines). All these points can easily be rectified. I feel there is momentary harmonic confusion in bars 245, 247 and 248 where tonic, subdominant and dominant appear in combination, which seems out of context with the rest of the writing.
Although exceptions can of course be found, it is generally accepted that you should ideally show the timpani tuning at the start (i.e. in this piece 'Timps in E,A,F and Eflat') followed by necessary changes that are required (especially if the writing is complex). In fact there are two occasions where the timp writing is impractical in this piece - or would necessitate using at least 5 timps: bar15 would entail a pedal slide down from low E flat to D, and then there would be no time to change F to G by bar 18. Also bars 255 to 260 have 6 different pitches with no time to change - these points need rethinking.
Summary.
Although I have felt it necessary to mention a number of issues that need addressing, this should not detract from the fact that this is clearly a substantial work of very high quality that has much to commend it. With the above exceptions this is a particularly well written, innovative, adventurous and exciting composition. It is at once effective, enjoyable to listen to and atmospheric - The composer is to be commended for submitting what is undoubtedly an excellent piece of work for this competition.
Journey to the Somme
MV 3 Judges 5-10-7=25Charles Gaskell
Journey To The Somme:
This work has no real musical form. It is just a succession of themes. Some sort of pastiche, with dark moods and not much contrast.
JOURNEY TO THE SOMME
General Comments.
The well-written, succinct and descriptive programme notes clearly outline the composer's intentions and effectively set the scene for what is to follow. The writing for strings and timpani reveals an intelligent, experienced and highly competent musician who is obviously completely at home in this particular genre. His approach to the task is at once imaginative, adventurous and innovative, and the result is an exciting, atmospheric and particularly effective composition.
Compositional Techniques.
Harmonically built on piled up major 7th's, the harsh, jagged dissonances coupled with the equally jagged rhythms and shot-chords that permeate throughout, vividly plunge the listener immediately into the nightmare horror, confusion and chaos of the first world war. The ingenious use of themes from George Butterworth's 'A Shropshire Lad - Rhapsody', presented both as direct quotes and snippets that are subsequently developed, later appearing in augmentation, overlapping etc., was a brilliant concept that works extremely well, binding the piece together in a coherent, logical manner.
Technical Issues.
In the main this is an extremely well written and accurately presented score. The writing for all instruments involved is logical and technically sound. The violin and 'cello soloists are given due prominence throughout, as indeed is the timpanist (who also has the major 7th feature mentioned earlier). There are, however, a small number of inconsistencies (e.g. incorrect rests bars 64 and elsewhere (Vlns & Vc) and incorrect note-groupings and rests at letter D+1 (Vln1&2,Vla,Vc) etc., but I am being fussy!
I am uncertain as to the necessity for the single 9/8 bar (85) as it does not appear to have a function other than complicating matters for players and conductor alike (and the note grouping is incorrect). I suggest taking out the extra quaver and sticking with 4/4.
It should perhaps be mentioned that there seems to be a further direct quote from 'Shropshire Lad' at letter 'E' in addition to the one acknowledged in the score at 'J'.
Summary.
This is a substantial composition that exactly meets the criteria of the competition and is clearly work of quite exceptional quality throughout. The composer has graphically captured the scenes of warfare most vividly which, together with the underlying references to 'A Shropshire Lad' as explained in the programme notes, results in a dramatic, innovative and highly effective piece of work.
A Soldiers Dream
MV 3 Judges 6-8-8=25Allen Jones
A Soldier's Dreams:
This composition is a bit too repetitive. It also lacks proper continuity and development. It would profit from some changes of keys and rhythms. Best section in the 3rd Part where the work becomes more triumphal. A good try, though.
A SOLDIER'S DREAMS
General Comments.
This composition is in three distinct sections, written as one continuous movement. The descriptive and well-written programme notes clearly reveal the composer's intentions and his writing is relatively free and rhapsodic in outline. Written in the open key, there are no key-changes and the key centre mostly hovers between C major, A minor and D minor; with only occasional accidentals throughout there is a distinctly modal feel to the music, which serves to create the intended frequently mournful undertone to the piece. The writing for strings is generally secure, with a few exceptions (see later), the timpani writing is accurate and effective and the composer has ensured that the solo violin and 'cello are given due prominence throughout the work.
Compositional Techniques.
The opening statement, first stated over a pedal point, is later reworked at letter C (without the changing time signatures) and accompanied now by a martial-like figure, presumably depicting the joyful parade through the town. This is subsequently repeated and varied at letter D (where for me the passing-note crotchets in the 2nd violins grate against the harmony) and makes a final appearance right at the end by bringing the piece to a close, thereby helping to cement the work together.
New material is introduced and later reworked and developed through 'Leaving the Trenches' and 'Leaving the Dreams', with the passing reference to 'Abide With Me' at the beginning being subsequently repeated through letters I and J, together with possible references to 'The Last Post' towards the end (bare 5ths C G).
Technical Issues.
There were just one or two occasions where the writing was, I thought, overly challenging for the players e.g. letter C pizzicato (1st violins) and bar 68 arpeggios (viola). Also the chromatic semiquaver runs before C seemed somewhat out of keeping with the rest of the composition.
I felt there were occasions where the writing was marred by notes that jarred against the harmony (e.g. bar 104 'cello 1st beat C against the E minor chord and 4th beat A minor together with E minor; 108 violin E and G against D minor chord and bar 109 cello arpeggio D minor against A minor chord etc.), which was inconsistent with the rest of the writing. Also I'm not certain what was achieved by the sudden appearance of a B flat in bars123 and 131 (no change of key involved).
Bar 21 Adagio (mm60) is followed by piu Adagio (mm64). Surely more adagio equals slower?
Finally I felt there was no real need for bars 4 and 5 being in 3/4 and 5/4 - they actually feel like two bars of 4/4.
In Memorium
MV 2 Judges 7-6-6=21Kevin Riley
In Memorium:
Interesting. Too much use of timpani for effect's sake. It would be better if the musical themes would be more developed that remaining just like sporadic effects. The proper title should be 'In Memoriam' and not 'In Memorium'.
IN MEMORIUM
General Comments.
As the title suggests this piece looks back retrospectively at events of the day. It is set in four separate and distinct movements that are linked primarily by the generally modal style of the writing, though the opening four bar melody is recalled again as a post-script right at the end of the piece and there are thematic links to be seen elsewhere. The composer is clearly at home composing for this medium and his string writing throughout is effective, accurate and practical, using very precise directions regarding performance issues. The timpani part is likewise well written and effective, with due consideration being given for the practicalities of changing pitch. The writing throughout is inventive, atmospheric and satisfying, revealing an experienced, competent and talented composer.
My main reservation with this otherwise well-written composition is that the solo violin and solo 'cello parts do not contribute significantly to the piece in any really substantial way. For me it is a little disappointing that the soloists do not feature at all in the first two movements and are left with precious little to play thereafter. They mostly sit there in silence waiting for their brief moments to shine.
Compositional Techniques.
The four movements are cast in B minor, D minor, E minor and B minor/C sharp minor. With virtually the absence of accidentals a distinctly modal feel is created (aeolian mode in each case), which serves to enhance the intended pervasive mournful atmosphere of much of the writing. Each movement is descriptive of the events referred to in the individual titles and the writing portrays the intended mood in each case. Movements 1, 3 and 4 are essentially relatively short melodic phrases in reflective mood that are subsequently repeated and varied, whilst 2 'Over the top' is much more substantial in both content and length. This movement, with its irregular time-signature and dramatic rhythmic build up, develops and extends the material in an innovative and exciting way, later enhanced by florid string writing and effective use of timpani clearly depicting the fear and anticipation of the forthcoming action.
Technical Issues.
Right from the start the viola has a prominent part to play, which from one perspective is a welcome initiative, though just possibly the question of balance could be brought into focus - This, it must be said, is referred to in the helpful performance direction notes. Otherwise the writing is so carefully done that there are only two small issues that I feel deserve comment: 1) In bar 36 the isolated F sharp melody note clashes against the G major harmony, which does seem out of keeping with the rest of the style of the piece; possibly keeping the harmony B minor here would resolve this issue? 2) The awkward moment in bar 91 (clashes of A flat/A natural and B flat/B natural) could be avoided by the 2nd Vlns and lower strings having 2nd beat semiquavers D, C, B natural, B flat (followed by 8ves with the 1st violin part), thereby maintaining the line.
Summary.
Whilst the piece may not have fully utilised the two soloists, the overall effect is nevertheless pleasing, atmospheric, exciting and enjoyable to listen to. The composer is to be commended for submitting what is undoubtedly a substantial and well written piece of work for the competition.
Symphony for Strings
MV 3 Judges 8-4-7=22Lara Poe
Symphony For Strings: 8
This composition should not be called a symphony because it simply isn't on. It doesn't respect the symphony form. Some good ideas in it though (especially close to the end) but these ideas are unfortunately not properly and extensively developed (as in a proper symphony should be).
SYMPHONY FOR STRINGS4
General Comments.
The score lay-out and instrumentation of this piece is a little odd - one would expect to see both the solo violin and solo violoncello parts at the top followed by full string orchestra, with timpani underneath (or just below the two soloists). Not having included a Double Bass in the scoring is most unusual.
Compositional Techniques.
This piece is written very much in the style of 19th century classical symphonic music (this is not intended as a criticism!). The harmonies are generally logical and mostly correct, though there are occasions where the handling of key transitions is questionable (see below). The classical format actually works very well; there is good melodic presence, the construction is satisfying and the overall effect of the piece is certainly pleasant, effective and enjoyable to listen to. Whilst there can be little doubt that this is certainly a substantial composition, perhaps the term Symphony is just a little grand - maybe Sinfonietta would be more appropriate?
There are a number of slightly confused tonality issues: 1)There is no need for a key signature at bar 23 (still in four flats). 2) The many accidentals in the section in 3/4 from bar 35 are confusing. It may have been better to keep the tonality to F minor until the actual change of key. 3) It would have been possible to change the key signature to F minor at bar 69 to avoid so many accidentals. 4) The Andante at bar 96 is really in D flat major (G flat accidentals throughout). 5) With the prevalence of so many accidentals from bar 272, maybe a key signature of F major here would be helpful (back to F minor at bar 290).
Technical Issues.
The writing for strings is not always idiomatic: 1) The 2nd 'cello part at the Allegro Moderato (186) includes some awkward double-stopping (or it must be annotated 'divisi') and the upper 'cello part includes some unnecessary accidentals (A flats) and, later, some impractical double-stopping. 2) The viola part from bar 270 and 2nd violin from 275 must be shown 'divisi' as the double stopping is not practical (actually impossible for the 2nd Vln). 3) The 'cello part from bar 205 has awkward wide-ranging arpeggio figures with again some additional odd double stopping. 4) The solo violin double stopping from bar 279 is impractical.
The writing for the two soloists is questionable in that they relatively rarely have a substantial solo part to play. Of course there are some exceptions, but often they merely duplicate existing lines or play unessential arpeggios etc.. It should be mentioned that there are no bowing or phrasing marks shown until bar 186.
The timpani part from bars 201-207 and from 288 to the end includes notes that are incorrect against the harmony and bass-line.
Summary.
This piece appears to be a stand-alone sinfonietta for strings, which is certainly a pleasant enough composition in its own right. Whilst it may not appear to have a direct musical connection with the anniversary of the start of World War One in either title or mood, presumably the composer was moved to write this as a tribute to the millions whose lives were lost in the conflict. Clearly representing many hours of work, he is to be commended for submitting what is undoubtedly an effective and enjoyable composition.
The Unreturningname
MV 1 Judges 9-7-9=26Adrian Allen
The Unreturningnname:
Composer has a good send of musical drama. Well described themes and a good use of musical tension and contrast. Very good in parts: especially from minute 4:05 for a minute or so). Well done.
THE UNRETURNING
General Comments.
The descriptive, informative and well-written programme notes fully outline the composer's thoughts and intentions, clearly setting the scene for what is about to follow. The piece, described as a short symphonic poem in three contrasting sections, portrays the actions and events referred to in the programme notes. My only reservation with this piece is that, with some notable exceptions, to my mind the two soloists are not featured in a substantial enough way throughout, but are merely resting for much of the time. Otherwise there is no doubt that this is certainly a most enjoyable, atmospheric and effective composition.
Compositional Techniques.
Using a mix of classical, romantic and more modern techniques, the composer has utilised his resources imaginatively and effectively. Relatively free and rhapsodic in outline, the piece progresses smoothly through the various sections, exploring a range of moods and passing through a variety of keys and time signatures in the process to produce a satisfying and unified whole. All the writing is effective, but I felt that the Adagio was particularly well written and dramatic, with good melodic direction and supporting harmony capturing the intended drama and anguish, finally bringing the piece to a close.
Technical Issues.
There are a number of small areas where the writing is a little confused i.e.Tempo di Valse from bar 34 - all the D flats should theoretically be written as C sharps and viola B flats should be A sharp (diminished 7th chord on G = G,A sharp,C sharp,E). Similarly bar 52 should be F sharp and D sharp - not G flat and E flat (diminished 7th chord on F sharp (sorry to get technical!). Bar 44 violin 1 rest? Bar 65 last semiquaver should be written as C sharp (also 'cello in bar 73). Bar 85 melody E (tonic) grates against Dsharp/Fsharp (dominant), and bar 88 last crotchet triplet (tonic) grates against dominant chord (and Viola phrase marks missing). Bar 112/113 have incorrect rests. 'Lento' (bar165) Vlns 1and 2 presumably should be marked 'divisi'? I know I'm being a bit picky, but that's my job!
Incidentally the sound file differs slightly from the score in a couple of places: Tempo ad lib (bars 26-32) comes across as faulty rhythms in the 'cello part. Bar 63 2nd beat is a crotchet rest. In the Maestoso (bars128,142,144 etc) the written final quavers come across as semiquavers. However these are only observation.
Finally it is generally accepted that it is helpful to show the timpani tuning at the start (i.e. in this piece 'timps in E,C,B and A') and then to show any necessary changes as they occur later. The timps are not actually used until quite late in the piece (bar 123).
Summary.
Whilst for me the piece perhaps does not fully utilise the two soloists, the overall effect is nevertheless pleasing, innovative, dramatic and enjoyable. The composer has submitted what is undoubtedly a well-written and substantial piece of work for this competition and is to be commended for his efforts.
Pursuit of Peace
MV 3 Judges 10-5-10=28David Harrison
Pursuit Of Peace:
My favourite work. Good melodic ideas, good use of the effect of sadness and good work on dramatic. Very well done.
PURSUIT OF PEACE
General Comments.
This composition consists of two main sections marked Largo and Allegro, written as one continuous movement. The score is well laid out and presented, the writing for strings and timpani is generally secure and accurate; though there are no phrasing or bowing marks in the opening Adagio section. The two soloists are given due prominence throughout the piece and the overall impression is of an interesting, enjoyable and at times atmospheric composition.
Compositional Techniques.
With a key signature of G major, the tonal centre commences in A minor, passing through E minor and B minor, with the following Allegro being essentially centred on D major and G (pentatonic). The absence of any accidentals or key changes throughout the entire work emphasises the distinctly modal feel of the music. The only possible drawback with this approach is that there could be a danger of the music becoming rather static and bogged down. However the composer has ensured that the composition is structurally sound by consistently reintroducing and developing the initial material in a variety of ways throughout the piece; the use of canonic imitation, combination of themes, overlapping, melodic augmentation etc. binds the piece together in a particularly logical and coherent manner. In fact this composition is notable for its economic use of material; virtually every bar having a direct link to the main initial opening statements (Adagio four-note figure, rising arpeggio and the 4 bar Allegro theme). The final ending on a D major chord is surprising - possibly portraying that peace has at last been found?
Technical Issues.
The process of developing the melodic themes as described above has at times resulted in some harmonic conflict when compared to the rest of the writing (e.g. the arpeggio figures from bar16 do not always match the underlying sustained harmonies (similarly from bar 40); bars 57/58: the B minor chord here is clashing against an E minor arpeggio; bar 61 has a D major sustained chord but the solo violin and 'cello have G major melody, etc)..
There is, I feel, some confusion with the underlying pulse at times throughout the Allegro section. On reflection perhaps it would have been better to have a cut common time signature at the Allegro to establish the intended minim pulse. Thereafter the 6/4 after G should more correctly be written as 3/2, again to maintain the minim pulse. The sections at A,B,E and F all start off with an underlying pulse of 3/2, which again could be written as such; however the composer may disagree!
Finally it is generally accepted that it is helpful to show the timpani tuning at the start (i.e. in this piece 'timps in D,A and G') followed by any necessary changes.
Summary.
The composer is to be commended for writing what is clearly a substantial piece of work for this competition that must have taken many hours to complete. The overall effect is pleasing, enjoyable to listen to and satisfying - the composer should feel well pleased with the result.
Congratulations to "The Pursuit of Peace"!
Well done everyone!!
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