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  • Andante and Allegro revisited

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    I had the Allegro of this piece for violin and piano on the VSL site as a demo, but it was an earlier version that I always felt dissatisfied with. It seemed that the last movement needed an entire section, or secondary contrasting theme. After a number of years I finally came up with something I thought worked and completed also a performance of the Andante. This uses the first solo violin and Bosendorfer piano, mixed in EDIT: Schubert Hall MIR Pro.

    This first movement was slow and easy to play supposedly, compared to the second movement. But it was almost impossible to program MIDI ! The slow easy Andante movement was way harder than the fast complicated Allegro. But I did a performance of it, using a lot of dynamics and sul legato alternating with regular, and now the piece is complete in MIDI. I am trying to interest some players in it, and have the sheet music at SMP Press.

    I would be very interested to get some comments on the MIDI as doing two solo instruments only is raw and naked and so much harder than giant luxurious orchestrations...

    Andante annd Allegro


  • Very poignant and sorrowful Bill. I do hope some players will pick this up and make a live recording that I will be very happy to hear!

    I have to say that the violin sequencing is fantastic, but the piano sounds quite "tinny" to me (for your great standards of simulation).

    Best of luck with this great piece.


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    Thanks Errikos, I did a new mix thanks to some feedback. I was so involved with doing the music, I lost objectivity and since I like the Pernegg Monastery MIR I did a mix there, but it was totally bizarre to have that huge reverb and two solo instruments. Jos Wylin and MMKA were my informants on this. So I did a mix in the Schubert Hall, much more dry and did some further EQ on violin, Also the levels of violin vs. piano.

    Andante and Allegro


  • As always, a fantastic piece of music, Bill. I look forward to hearing that you have gotten a perfomance; it richly deserves to be heard. As for your MIDI, I can only say that you are probably attempting to do something at the current limit of virtual musicianship: play a convincing romantic andante on a solo violin or cello. The range of nuance that a beautiful violinist can bring to a tune is unparalleled in musical instruments. It is as close as you can get to singing a song without using your voice. And please note that we're talking about an andante here...high, fast, and loud gets a rise out of the peanut gallery but it's the "sad" part that truly separates the men from the boys (and women from girls). One of the greatest music lessons I ever had came at a Maurice Andre concert I attended when was 19. He was touring with a small chamber orchestra, playing nothing but baroque oboe concerti on his piccolo trumpet. Everyone swooned and cheered when he danced through the allegri with his effortless technique and clear, singing tone. But about halfway through the gig, I became aware of the fact that he was playing the andantes so slowly they were practically largos, but you never felt they were dragging...every phrase absolutely swung. There's no other way to say it, they swung. He would play phrases so long he had to use circular breathing, not as a gee-whiz show-off trick but as a tool to accomplish his musical ends. The life and variation in every note, every transition, was mesmerizing. Maurice taught that the final step in becoming a master wind soloist was to study with a singing coach, and it showed. Violinists live in the same world. They can crank a zillion notes an hour, but they really show what makes their instrument the ultimate when they slow it down and sing a song. All that to say this: You are absolutely one of the greatest practitioners of this art of which I am aware. I listen to your music all the time on Spotify and the big, everything-AND-the-kitchen-sink orchestrations never fail to satisfy. They feel as if they were recorded by a vast crew of studio musicians on a sound stage and I doubt that actually hearing it done that way would be a hugely more satisfying musical experience. Even the wind solos are astonishingly realistic and soulful. But when we get to a solo violin, that ineffable magic may not be possible to completely reproduce through current technical means. By all means, keep tilting at that windmill...it may just be a matter of time. Who would have thought that we could hear such incredible simulations of orchestral music as you, Jay Bacal, and a few others can do? But in a way, I'm glad that there is still a world that can only be touched by people who can take a beautifully sculpted wooden object and wring a song out of it with their hands.


  • William, this is a wonderful piece of music. The composition itself is masterful. Since our aesthetic preferences are similar, I always seem to like your compositions, and this one is no exception. Nice work with both the parts for the piano and the violin. They both are characteristic and quite believable. The performances are sensitive and lovely. Your use of rubato in particular is much appreciated. And what a contrast to your recent march! Ha! You always surprise me.

    Paul McGraw


  • Thanks a lot Tom,  I am really glad to get your ideas on this. That is interesting to hear about Andre who was such a fantastic player.  


  • Paul, thanks for listening - I am a fan of your music so it is great to get your reaction on this. 


  • PaulP Paul moved this topic from Orchestration & Composition on