This post is a bit of a catchup with what has happened so far before the more frequent updates.
15/11/2010
We decided on the length of the piece (about 15-20 mins) and that it would more than likely be multiple movements rather than one long one. I've always wanted to use instrument and electronics but have never felt I had the knowledge and the opportunity to but I feel I am better equipped now. Though the idea of doing it was rather imposing.
I suggested to Lydia to have a look over my piece for solo cello '41111' to get an idea of my style and also to have a listen to Kaija Saariaho's solo cello music.
The logic for this suggestion was she has written a piece for solo cello and electronics Prés (Petals) and others for solo cello such as Sept Papillons. Both these pieces I feel are amazing pieces but also have been notated exceptionally clearly (a feeling shared by another cellist I know) and use extended techniques (though can they really be called extended any more?) artistically, because of this I have made the decision to use Saariaho's scores as a textbook for cello notation.
6/12/10
We agreed upon a timescale with the electronics being ready for the first week back after Christmas to try ideas out, by week 4 (around 1st feb) the piece should be almost ready at least in draft form.
After having had a look over 41111 Lydia said she liked certain sections and techniques used, specifically the opening, the strumming, the cello body tap and the humming.
Embedded in this post is the score to 41111. As a side note this piece is being played in Dublin's National Concert hall on 23rd February.
41111
Saturday, 15 January 2011
Collabration introduction
For the next month or two I'm going to turn this under used into a public record of my collaboration with a cellist, Lydia Whittingham, to create a piece for solo cello and electronics. The reason for this documentation is that as part of my masters course I have to do a documentation project which I can document in any way. I first of all thought of keeping it private but then changed my mind. What I'm planning to put on here is summaries of meetings with Lydia, drafts of the score, versions of the electronics and possibly rough recordings by her of the piece so far. All this is with the goal of the premier being in Glasgow City Halls on the 16th of March. This may end up being a little bit of an other ambitious time scale but hey, I like a challenge. Plus she has booked studio time to record it around then anyway.
Saturday, 1 January 2011
My pieces 2010
Pieces
41111 for solo cello - 11min
Chordal Relations for chamber orchestra - 5min
Echo for wind quintet, mezzo soprano and piano - 8min
Fish and Chips for string quartet - 12min
Fitzwilliam Rag for solo piano - 5min
for Matt Mattera for solo trumpet - 5min
It Just Is for brass quartet - 11min
Laya for piano quartet - 9min
Organic Construct for tape - 9min
Prevalence for percussion quartet - 8 min
Rain for guitar and soprano - 7min
Relations for large orchestra - 13min
Sssh! for flute and guitar - 13min
as yet untitled for chamber orchestra - 12min
Subtle Clarity for solo bass clarinet - 8min
The Wavering Gorge for violin and cello - 6min
Unresolved for solo piano - 3min
Wondering, Wavering, Willing for guitar and violin - 6 min
Youth for tape - 10 min
Total - 161min
Awards
Honourable Mention by International Music Prize for Excellence in Composition
for Wondering, Wavering, Willing
May Turtle Scholarship
Hamilton Harty travel Scholarship
PRSF/Bliss foundation Scholarship
RSAMD Scholarship 2010-2011
RSAMD Scholarship 2011-2012
41111 for solo cello - 11min
Chordal Relations for chamber orchestra - 5min
Echo for wind quintet, mezzo soprano and piano - 8min
Fish and Chips for string quartet - 12min
Fitzwilliam Rag for solo piano - 5min
for Matt Mattera for solo trumpet - 5min
It Just Is for brass quartet - 11min
Laya for piano quartet - 9min
Organic Construct for tape - 9min
Prevalence for percussion quartet - 8 min
Rain for guitar and soprano - 7min
Relations for large orchestra - 13min
Sssh! for flute and guitar - 13min
as yet untitled for chamber orchestra - 12min
Subtle Clarity for solo bass clarinet - 8min
The Wavering Gorge for violin and cello - 6min
Unresolved for solo piano - 3min
Wondering, Wavering, Willing for guitar and violin - 6 min
Youth for tape - 10 min
Total - 161min
Awards
Honourable Mention by International Music Prize for Excellence in Composition
for Wondering, Wavering, Willing
May Turtle Scholarship
Hamilton Harty travel Scholarship
PRSF/Bliss foundation Scholarship
RSAMD Scholarship 2010-2011
RSAMD Scholarship 2011-2012
Tuesday, 24 August 2010
BBC Proms 2010 Prom 46
I’m just back from my first time at the proms and feel the need to write something about them more than just being a great experience.
My first impression of the hall itself was simply ‘wow’, it just seems right. Yes it is big but not too big, the misty blur that I get from large spaces (the Coliseum in Rome being the best example) didn’t happen, and because it is big I wasn’t expecting it to have such an acoustic. It took a few moments to get used to it but once I did it was perfect, quiet but perfect. When there I went to proms 45, 46 and 47 but am only going to comment on 46 in this entry and 47 on a subsequent one.
The opening to prom 46 with the Philharmonia Orchestra was Mosolov’s The Foundry (1927). Mosolov is a composer whom I have to admit I had never heard of but going on these 4 minutes of pounding industrial music. No don’t think Rammstein simply think the rhythm and sound of the machinery in a steel fabrication plant. There is no beginning to the piece, no tentative inroads on the silence that preceded it simply begins as if it has always been there grinding away or that someone has just hit ‘on’. The most spine tingling moments in the piece are when the 8 horns stand up (rather effective physical movement for the piece) and play a short melody over the incessant mechanical grinding of the rest of the orchestra. According to the programme notes by Andrew Huth The Foundry was meant as the opening to a now lost ballet consisting of a further three movements In Prison, At the Ball and In the Street. I can but hope that it is found at some point to hear what such music would lead into. Somehow I doubt it would be anything like the next piece of the concert, the UK premier and I believe only second performance of Arvo Pärt’s fourth symphony ‘Los Angeles’ (2008).
This piece is the reason I went to this prom and unfortunately it left me wanting and not in the way Pärt’s music usually does. For me Pärt’s music is the kind of music in which you sit in a darkened room, eyes closed letting it wash over you, ignoring everything. Kind of like lying on your back eyes closed in water and letting yourself drift. The piece is very typically Pärt, heavy on the strings, very slow and quite and uses his typical chord spacing to give a typical sound. Unfortunately that’s where it fell down on first listen; it was simply too typical. There was no sense of going anywhere yet no sense of languishing with intention it was caught somewhere in-between the two. Maybe on subsequent listens (at the moment its still available in BBC iplayer for 3 more days) it will be less tedious and I might pick up the drive behind the piece but for a first impression it wasn’t good.
The material did not seem to be strong enough to sustain the attention of the listener for such a long time and was in fact quite disjointed. The best example of this is after the opening section which is interrupted by the timpani comes a scale played in such a way to make me think it is a quote from a Philip Glass piece. Maybe it is, maybe it isn’t but it seems so out of place with what has come before and what is still to come that it jars the ear and the mind. Even with this criticism there were moments of very beautiful music, specifically the warmth of the central section with pizzicato strings and marimba.
It was quite interesting to see Pärt pretty much run up to the stage, he is almost 75 yet he doesn’t seem like he is any older than 60 the way he moves!
The next piece was Ravel’s Piano Concerto for the Left Hand (1929-30) played by Jean-Efflam Bavouzet. Its an odd piece that builds from a contra bassoon solo to an orchestral tutti before half a piano comes in. The build up is such that you expect a chord in the highest and lowest registers of the piano but this is impossible because it is only written for the left hand. This lack of the ability to use 10 fingers is due to the commissioner, Paul Wittgenstein, had lost his right hand during the war. Ravel attempts to create the impression of such a chord though but unfortunately Bavouzet ruins it because in the opening flourishes there were quite a few missed notes, this was the impression I had on the night and after a little bit of research (ahh the joys of iplayer and spotify!) my firs impress was backed up. This set up the tone for the rest of the piece, it didn’t quite feel right. It seemed more of an argument between soloist and orchestra than conversation. The orchestra’s rendition of the piece I cannot fault and in fact was so good that the mistakes and problems with the soloist were forgotten about to leave me with a very good impression of the work.
Finally was Scriabin’s The Poem of Ecstasy (1905-8), a piece that I knew existed but had never had the chance to listen to. Unfortunately I found it a little too romantic and long in its tendencies for my liking. This could have been because of the performance or the music itself but I felt it could have been a little shorter. That being said it was great to hear the great Albert Hall organ in the closing chords of the piece vibrating my seat even though I was in the circle which is an unbelievable feeling that cannot be reproduced by any recording.
My first impression of the hall itself was simply ‘wow’, it just seems right. Yes it is big but not too big, the misty blur that I get from large spaces (the Coliseum in Rome being the best example) didn’t happen, and because it is big I wasn’t expecting it to have such an acoustic. It took a few moments to get used to it but once I did it was perfect, quiet but perfect. When there I went to proms 45, 46 and 47 but am only going to comment on 46 in this entry and 47 on a subsequent one.
The opening to prom 46 with the Philharmonia Orchestra was Mosolov’s The Foundry (1927). Mosolov is a composer whom I have to admit I had never heard of but going on these 4 minutes of pounding industrial music. No don’t think Rammstein simply think the rhythm and sound of the machinery in a steel fabrication plant. There is no beginning to the piece, no tentative inroads on the silence that preceded it simply begins as if it has always been there grinding away or that someone has just hit ‘on’. The most spine tingling moments in the piece are when the 8 horns stand up (rather effective physical movement for the piece) and play a short melody over the incessant mechanical grinding of the rest of the orchestra. According to the programme notes by Andrew Huth The Foundry was meant as the opening to a now lost ballet consisting of a further three movements In Prison, At the Ball and In the Street. I can but hope that it is found at some point to hear what such music would lead into. Somehow I doubt it would be anything like the next piece of the concert, the UK premier and I believe only second performance of Arvo Pärt’s fourth symphony ‘Los Angeles’ (2008).
This piece is the reason I went to this prom and unfortunately it left me wanting and not in the way Pärt’s music usually does. For me Pärt’s music is the kind of music in which you sit in a darkened room, eyes closed letting it wash over you, ignoring everything. Kind of like lying on your back eyes closed in water and letting yourself drift. The piece is very typically Pärt, heavy on the strings, very slow and quite and uses his typical chord spacing to give a typical sound. Unfortunately that’s where it fell down on first listen; it was simply too typical. There was no sense of going anywhere yet no sense of languishing with intention it was caught somewhere in-between the two. Maybe on subsequent listens (at the moment its still available in BBC iplayer for 3 more days) it will be less tedious and I might pick up the drive behind the piece but for a first impression it wasn’t good.
The material did not seem to be strong enough to sustain the attention of the listener for such a long time and was in fact quite disjointed. The best example of this is after the opening section which is interrupted by the timpani comes a scale played in such a way to make me think it is a quote from a Philip Glass piece. Maybe it is, maybe it isn’t but it seems so out of place with what has come before and what is still to come that it jars the ear and the mind. Even with this criticism there were moments of very beautiful music, specifically the warmth of the central section with pizzicato strings and marimba.
It was quite interesting to see Pärt pretty much run up to the stage, he is almost 75 yet he doesn’t seem like he is any older than 60 the way he moves!
The next piece was Ravel’s Piano Concerto for the Left Hand (1929-30) played by Jean-Efflam Bavouzet. Its an odd piece that builds from a contra bassoon solo to an orchestral tutti before half a piano comes in. The build up is such that you expect a chord in the highest and lowest registers of the piano but this is impossible because it is only written for the left hand. This lack of the ability to use 10 fingers is due to the commissioner, Paul Wittgenstein, had lost his right hand during the war. Ravel attempts to create the impression of such a chord though but unfortunately Bavouzet ruins it because in the opening flourishes there were quite a few missed notes, this was the impression I had on the night and after a little bit of research (ahh the joys of iplayer and spotify!) my firs impress was backed up. This set up the tone for the rest of the piece, it didn’t quite feel right. It seemed more of an argument between soloist and orchestra than conversation. The orchestra’s rendition of the piece I cannot fault and in fact was so good that the mistakes and problems with the soloist were forgotten about to leave me with a very good impression of the work.
Finally was Scriabin’s The Poem of Ecstasy (1905-8), a piece that I knew existed but had never had the chance to listen to. Unfortunately I found it a little too romantic and long in its tendencies for my liking. This could have been because of the performance or the music itself but I felt it could have been a little shorter. That being said it was great to hear the great Albert Hall organ in the closing chords of the piece vibrating my seat even though I was in the circle which is an unbelievable feeling that cannot be reproduced by any recording.
Tuesday, 13 July 2010
The Quangle Ensemble
Now that the random info update is done I think I should do an update on my music.
In performance related news The Space Within went down very well at my final Queen's Composers' Concert. My first experience conducting and I quite enjoyed it, I want more! I was surprised how attentive players are. At one point during the rehearsals I remember thinking 'why are they slowing down' and stopping to question what happened. It turned out my mind had wondered and it was I that was slowing down which in turn caused them to! Unfortunately I wasn't able to perform it with the players spaced around the room but I think it worked in the more standard format of everyone at the front. You can listen to it and have a look at the score here and decide for yourself.
Another recent performance was by the Royal Irish Academy of Music's percussion ensemble. A piece of mine called Prevalence. Unfortunately I handed them a rather bad score (I tried something new layout wise which really didnt work)which meant I didn't get an amazing performance but even with that I was very happy with the piece. Again recording and score can he heard and seen here. Would be good to hear any comments on either piece.
Now onto the title of this blog......The Quangle Ensemble!
The name means nothing now but I'm hoping that soon, at least for you Belfast and Dublin folk, it will mean something. Its a new music ensemble that I am currently setting up in Belfast with the help of Mo Doris. It stemmed from the basic idea that arts organisations dont seem to create a business they seem to create a body that eats funding and puts on music (I'm not saying this is always the case or that is necessarily true just my opinion) so to combat that I want to create a business like organisation that doesn't rely on grants. When I say doesn't rely on grants I'm still going to apply for them but I'm trying to work out a way (which I think I have) to make it sustainable after the grants have run out. The plan for the ensemble is to have about 15 resident performers and about the same number of composers. The mix of instruments in the ensemble will be sufficient to create traditional ensembles, modern ensembles and a chamber orchestra when everyone is together with everyone getting paid for every concert they are involved in and signed up to the payment scheme I've come up with.
At the moment there is one concert around February confirmed with the composers (myself, Mo Doris, Ryan Molloy, Marc Tweedie, Ben McHugh and Sean Kenny) and performers (Gascia Ouzounian on violin and Laura McGrogan on Cello). This will first be played in Belfast and then again in Dublin and possible a few other places as well. The first concert will be in December but I'm still working on the players and composers for it. I'm keeping everything under wraps about December at the moment but everything will follow in due course.
In performance related news The Space Within went down very well at my final Queen's Composers' Concert. My first experience conducting and I quite enjoyed it, I want more! I was surprised how attentive players are. At one point during the rehearsals I remember thinking 'why are they slowing down' and stopping to question what happened. It turned out my mind had wondered and it was I that was slowing down which in turn caused them to! Unfortunately I wasn't able to perform it with the players spaced around the room but I think it worked in the more standard format of everyone at the front. You can listen to it and have a look at the score here and decide for yourself.
Another recent performance was by the Royal Irish Academy of Music's percussion ensemble. A piece of mine called Prevalence. Unfortunately I handed them a rather bad score (I tried something new layout wise which really didnt work)which meant I didn't get an amazing performance but even with that I was very happy with the piece. Again recording and score can he heard and seen here. Would be good to hear any comments on either piece.
Now onto the title of this blog......The Quangle Ensemble!
The name means nothing now but I'm hoping that soon, at least for you Belfast and Dublin folk, it will mean something. Its a new music ensemble that I am currently setting up in Belfast with the help of Mo Doris. It stemmed from the basic idea that arts organisations dont seem to create a business they seem to create a body that eats funding and puts on music (I'm not saying this is always the case or that is necessarily true just my opinion) so to combat that I want to create a business like organisation that doesn't rely on grants. When I say doesn't rely on grants I'm still going to apply for them but I'm trying to work out a way (which I think I have) to make it sustainable after the grants have run out. The plan for the ensemble is to have about 15 resident performers and about the same number of composers. The mix of instruments in the ensemble will be sufficient to create traditional ensembles, modern ensembles and a chamber orchestra when everyone is together with everyone getting paid for every concert they are involved in and signed up to the payment scheme I've come up with.
At the moment there is one concert around February confirmed with the composers (myself, Mo Doris, Ryan Molloy, Marc Tweedie, Ben McHugh and Sean Kenny) and performers (Gascia Ouzounian on violin and Laura McGrogan on Cello). This will first be played in Belfast and then again in Dublin and possible a few other places as well. The first concert will be in December but I'm still working on the players and composers for it. I'm keeping everything under wraps about December at the moment but everything will follow in due course.
Random update
Well calling it 42 is a little wrong because this post wont answer all your questions about life but then will anything? What this post will do is sum up my last few months of inactivity while I'm sitting in Gatwick for the next 8 hours or so.
I'll start with the most up to date thing first; that of sitting in Gatwick. The reason for this is I'm on my way to Milan for two weeks to attend the soundSCAPE festival. I'm looking forward to it but I am wishing I didn't decide to do a late night flight to London to get an early flight tomorrow morning but such is life. I get to write this and I might get some of a presentation I have to do written. A weird thing about soundSCAPE is that the composer in residence is Patricia Alesendrini, a phd composer from QUB and the same composer who had to pull of form the composers concert twice due to her performers I'll health (technically it was the same problem it just happened before the first concert and continued until after the second such is bad luck).
For the presentation I have to talk and give examples of my music for about 30mins or so. I started to look at this about a week ago or so with trepidation but thankfully its a lot better than I thought. Looking through my scores from Quartet No. 1 to Untitled and Relations there is definitely a continuity apart from the obvious obsession I have with Fibonacci. Its quite comforting to find this continuity but slightly annoying that ideas I've had recently turn out to simply be codifications of things I have done in earlier pieces. Some of this continuity was a conscious decision, like in Quartet No. 1 a long note moved by a micro-tone after about 1min is used again in Puddle Wonderful (though the recording doesn't so it that well), others weren't consciously decided upon, like repeated notes on different instruments in The Space Within and Wondering Wavering Willing. But that's just a brief start have to work out where to go form that.
I'm going to out a thanks up here both the PRSF/Bliss foundation and Sir Hamilton Harty Scholarship have completely funded my trip to the soundSCAPE festival. So thank you both.
Last week my name changed, well not changed just extended a little. I graduated from Queen's Belfast with a 2.1 and now have letters after my name! This now means I am on my way to RSAMD next year, not that that was really in doubt because of my offer but its not all confirmed. The only thing that's a little in the air is that of accommodation, paid the deposit but have yet to hear back if I have got anything or not.
I'll start with the most up to date thing first; that of sitting in Gatwick. The reason for this is I'm on my way to Milan for two weeks to attend the soundSCAPE festival. I'm looking forward to it but I am wishing I didn't decide to do a late night flight to London to get an early flight tomorrow morning but such is life. I get to write this and I might get some of a presentation I have to do written. A weird thing about soundSCAPE is that the composer in residence is Patricia Alesendrini, a phd composer from QUB and the same composer who had to pull of form the composers concert twice due to her performers I'll health (technically it was the same problem it just happened before the first concert and continued until after the second such is bad luck).
For the presentation I have to talk and give examples of my music for about 30mins or so. I started to look at this about a week ago or so with trepidation but thankfully its a lot better than I thought. Looking through my scores from Quartet No. 1 to Untitled and Relations there is definitely a continuity apart from the obvious obsession I have with Fibonacci. Its quite comforting to find this continuity but slightly annoying that ideas I've had recently turn out to simply be codifications of things I have done in earlier pieces. Some of this continuity was a conscious decision, like in Quartet No. 1 a long note moved by a micro-tone after about 1min is used again in Puddle Wonderful (though the recording doesn't so it that well), others weren't consciously decided upon, like repeated notes on different instruments in The Space Within and Wondering Wavering Willing. But that's just a brief start have to work out where to go form that.
I'm going to out a thanks up here both the PRSF/Bliss foundation and Sir Hamilton Harty Scholarship have completely funded my trip to the soundSCAPE festival. So thank you both.
Last week my name changed, well not changed just extended a little. I graduated from Queen's Belfast with a 2.1 and now have letters after my name! This now means I am on my way to RSAMD next year, not that that was really in doubt because of my offer but its not all confirmed. The only thing that's a little in the air is that of accommodation, paid the deposit but have yet to hear back if I have got anything or not.
Saturday, 10 April 2010
Recent music
The other night I sat down and worked out what my output has been this year (from Jan 1st) and I was shocked. I have written around 30 mins of music which works out about 20 secs per day. I was shocked how I have written so much but then I have finished Relations (a piece for stereo orchestra), Rain (for soprano and guitar), The Wavering George (Violin and Cello) a bass clarinet solo and Unresolved for solo piano. Then there is a percussion piece and a guitar and violin piece that I have started to write within the last week. I dont know how this has come about but I think a switch has flipped in my head from wanting to compose to being able to compose. Every piece (bar Resolved) has either had a workshop, a performance or a performance scheduled. The situation I'm in at the moment is amazing until I remember I still have essays to write.
Also in the last few months I have had very good press reviews. The first one for Imagined Notes by Michael Dervan of the Irish Times which you can read here and the second for Puddle Wonderful. First real reviews I've had and I'm very happy with both!
I feel a bit of info about the pieces is needed, I don't normally do this unless asked but for some reason I'm compelled to. Imagined Notes was written for my final electro-acoustic composition last semester and is basically a reaction against what I see as noise music. What I mean by this is music with no overt pitch bass and simply uses real world sounds to create a piece. I know a door closing or a footstep does have a pitch but not in the same was as a trumpet. So the piece was written to lie somewhere in the middle of the noise music and real music. To do this I took recordings of a piano and an oboe and processed them via transposing stretching etc. The transpositions aimed to create a triadic harmony with the same kind of pull and push of tonality so chords were built up with 5ths, 3rds etc. Though terms such as chords should be used even more loosely in this piece than most because the transpositions where never meant to be precise but more to give the impression of tonal harmony which I think I succeeded in doing. Please do comment and discuss I'd be interested to hear feedback and if others think I did it as successfully as I think.
Relations is a piece for large orchestra with double of most things. This is to create a stereo effect for the audience. The piece is also based on one chord (G-B-E-F) this chord is intended to resonate the whole way through the piece of the piano mainly at the beginning and the end as this section is built on the harmonic series of each note. The music swings round the orchestra or bounces across from left to right. Unfortunately hearing this effect isn't going to happen any time soon, I dont think I could pull together an orchestra needed for it, but maybe in the future.
I might talk about the percussion piece a little in a week or two after its completely finished but it is similar to Relations in the sense that it is based on one note rather than one chord and develops in a similar vane to The Space Within, which I conducted in the 3rd Queen's Composers' Concerts and a recording will be up soon.
I think this is the first blog post in a while that wasn't for the reason of bitching, in fact it had no reason behind it I just felt compelled to write one. Please feel free to give me any comments or feedback about my music. Always interested to hear peoples opinions. You can also get some of my scores at Sibelius Music or Emerging Composers Library
.
Also in the last few months I have had very good press reviews. The first one for Imagined Notes by Michael Dervan of the Irish Times which you can read here and the second for Puddle Wonderful. First real reviews I've had and I'm very happy with both!
I feel a bit of info about the pieces is needed, I don't normally do this unless asked but for some reason I'm compelled to. Imagined Notes was written for my final electro-acoustic composition last semester and is basically a reaction against what I see as noise music. What I mean by this is music with no overt pitch bass and simply uses real world sounds to create a piece. I know a door closing or a footstep does have a pitch but not in the same was as a trumpet. So the piece was written to lie somewhere in the middle of the noise music and real music. To do this I took recordings of a piano and an oboe and processed them via transposing stretching etc. The transpositions aimed to create a triadic harmony with the same kind of pull and push of tonality so chords were built up with 5ths, 3rds etc. Though terms such as chords should be used even more loosely in this piece than most because the transpositions where never meant to be precise but more to give the impression of tonal harmony which I think I succeeded in doing. Please do comment and discuss I'd be interested to hear feedback and if others think I did it as successfully as I think.
Relations is a piece for large orchestra with double of most things. This is to create a stereo effect for the audience. The piece is also based on one chord (G-B-E-F) this chord is intended to resonate the whole way through the piece of the piano mainly at the beginning and the end as this section is built on the harmonic series of each note. The music swings round the orchestra or bounces across from left to right. Unfortunately hearing this effect isn't going to happen any time soon, I dont think I could pull together an orchestra needed for it, but maybe in the future.
I might talk about the percussion piece a little in a week or two after its completely finished but it is similar to Relations in the sense that it is based on one note rather than one chord and develops in a similar vane to The Space Within, which I conducted in the 3rd Queen's Composers' Concerts and a recording will be up soon.
I think this is the first blog post in a while that wasn't for the reason of bitching, in fact it had no reason behind it I just felt compelled to write one. Please feel free to give me any comments or feedback about my music. Always interested to hear peoples opinions. You can also get some of my scores at Sibelius Music or Emerging Composers Library
.
Subscribe to:
Posts (Atom)
