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The first theme reminds me of Jerusalem by Parry. I love that piece.❤ Then the smooth transition to Maria durch die Dornwald ging...absolutely wonderful. Bravo what a masterpiece medley ❤❤❤

Absolutely amazing, it sounds like the music of gods. Very emotional and beautiful. Intense and fascinating work, filled with so much sensitivity and subtleties. Love the different musical ideas or Leitmotiv, it almost sounds like a bach chorale in parts. Trully magical. Bravo from Berlin ❤

A remarkable composition my new friend 🔥 new subscriber

Great piece! Thank you :)

Thanks man!!! Much appreciated!

Heck yeah, sounds awesome!

Dude this is so tuff

24:50

This was in my recommended, I listened to whole thing and I love it. 12:18, hey I know that melody, 13:08 probably my favorite

Sounds really good

Love it! God rest ye merry gentlemen is EPIC!!

4:05 average mslanka arrival

I like the opening fanfare. The allegro opens like video game Verdi and ends like Mussorgsky. It's certainly lively and fun...I think it could have used a solid minute of down time, a longer quiet section for contrast and this would have made the structure of the piece more self-evident. It has the feeling of a pastiche. Not sure if that was intended.

Vincent Giza (b. 2004) - Northfield Overture no. 2 in F major Op. 37 Composed from June 11th, 2024 to July 29th, 2024 Revisions completed on Oct. 29th, 2024 Cover photography by Grayson Chan Yet another re-upload cause the audio I posted on the one last week was weird. Northfield Overture No. 2 in F major is a sequel to my late 2022 work, Northfield Overture No. 1 in G minor (Op. 14). It is the second installment of what will be four Northfield Overtures, each representing a year I spend at St. Olaf College (in Northfield, MN), as well as representing a season of the year. Northfield Overture No. 1 is a reflection of winter in Northfield, while Northfield Overture No. 2 is a reflection of fall. To me, fall is a season that brings great joy to me. Growing up in southern California, our falls are very inactive and insignificant. But the falls in Northfield are breathtaking. The leaves changing colors and falling to the floor as they get blown around, and the sunsets are truly beautiful sights. Many of the sounds you will hear in this piece are interpretations of what I see during the fall season at St. Olaf. Particularly the constant use of the Major 7th chord, which to me has a great sense of yearning in the context of this piece. Another thing I associate with fall is the horn, particularly in the context of hunting horns. The modern instrument that we see in orchestras has its origins as a means to communicate within a hunting party. There are three instances where offstage horns will play hunting calls over a drone note held by the strings. The first time is played by one horn, the second time is played by a different, more distant horn, and the third time has them both playing together. The onstage horns can also be heard playing various types of horn calls throughout the entire piece as well. After the final horn call, a fiery and explosive coda emerges and concludes the piece with a triumphant ending, celebrating the end of fall and the start of winter. Throughout the piece, there are also many nods to Northfield Overture No. 1 Stylistically, I can think of two composers who were particularly influential in my compositional process. And that is L.V. Beethoven and Charles Ives. Two very different musicians. I obviously got the idea for an offstage brass call from Beethoven’s Leonore Overture No. 3, and many of the textural aspects, especially the coda are greatly inspired by Ives’s early-middle music. During the slow section of this work, there is a lengthy trombone solo. The melody used in the trombone solo is the same as in my work “October Elegy” for Trombone and Organ. I dedicate this particular section to my friend Leo Barks. I also dedicate the entire piece to Leo Barks, Vincent Cianchetti, and Jake Dreifort. All of whom are trombonists I met during my time at St. Olaf. They have all been extremely influential to my character and have been incredible friends.

28:00 (My personal favorite of the 3rd movement)

OMFG, it's extraordinary! I'm often frustrated when I hear festive pieces, because they have a hard time to sustain the energetic and exhilarating feel all along, but yours is a neverending swirling tornado of joy and majesty, brillantly orchestrated. I can only imagine how it sounds in concert hall, it has to be thrilling. Kudos for your fantastic work, your thematic material is so great! As a religious myself, I like to think you worked hard to refine your divine gift. Also, do I hear Mozart's 39th in the first sax theme of the Allegro?

This is really damn good work. Congratulation on the huge revision. I think well worth the hard effort put in to it and probably the exact work it take to produce the elite elite level craftsman ship in this field. I think your piece demonstrate that iterative refinement(or constant revision) is the key to greatness.(even tho your previous version where also great) I am probably going to listen to it again.

If you liked this, please check out my Liebestraum! It’s a more accurate representation of how I write for choir now! th-cam.com/video/bcM0O3MKhLM/w-d-xo.htmlfeature=shared

Wunderbar!

I really like it!

24:50

Beautiful!

Taylor Brenda Hall Deborah Hernandez Larry

For pianists: Mvt. 1: m. 0:09; m.58 2:50 m.75 3:29; m. 113 4:25 m.148 5:15; m.133 4:56; m.147: 5:11; m.157 5:53; m.178 7:05; m.204 8:45; m.221 9:23; m.243 10:11; m.278 11:09m.317 12:05; m. 338 12:40

Great discovery! The finale is one of the most totally unhinged and bonkers movements I've ever heard.

is there any .pdf online that i can download?

Mvt 3: piano starts at m.60 30:25; m. 83 30:56; m.137 32:09; m.171 32:46; m.198 34:03; m. 204 34:12; m.254 34:36; m.269 35:37 36:53

For Pianists: Mvt 2: 13:48 (Piano C arpeggio part: 17:44; next arppegio,m.124: 18:54; flute solo m.184: 20:48 before c arpeggio; m.209: 21:40; m. 235: 22:31; m.242: 22:46; m.252: 23:02; m.259: 23:17; m.276: 23:50; m. 287: 24:07; m.306: 24:37; m.316: 24:58; m.339: 25:45

23:58

Never knew this composer, sounds amazing though

How beautiful! Really passionate. My piece is a little bit more modern, so don't be shocked! But I think I like yours better

Finally got to hear this, straight fire brah. You’re also great at writing endings

I hope you’re planning on uploading all Symphony score vids

Man movement 2 really is something

Program Note (1986) Symphony No. 2 was commissioned by the Big Ten Band Directors Association in 1983. I was asked to write a major work for full band. The Symphony was given its premiere at the 1987 CBDNA Convention in Evanston, Illinois. The performing group was the combined Symphonic Band and Symphonic Wind Ensemble of Northwestern University under the direction of John P. Paynter. The first movement is in sonata form. It travels with gathering force to a climax area halfway through, and then dissolves suddenly into a heated fantasia. A very simple restatement of the opening theme and a brief coda finish the movement. This music is deeply personal for me, dealing with issues of loss, resignation, and acceptance. The second movement opens with an arrangement of “Deep River,” a traditional African-American melody. The words of the song read in part: “Deep River, my home is over Jordan. Deep River, Lord, I want to cross over to camp ground.” The composition of this movement involved for me two meaningful coincidences. The body of the movement was completed, and then I came across Deep River while working on another project. The song and my composition fit as if made for each other, so I brought the song into the Symphony. The last notes were put onto the score of this movement almost to the hour of the space shuttle Challenger disaster. The power of these coincidences was such that I have dedicated this music to the memory of the astronauts who lost their lives: Francis R. Scobee, Michael J. Smith, Judith A. Resnick, Ellison S. Onizuka, Gregory B. Jarvis, and Christa McAuliffe. The finale of this Symphony is once again in sonata form. There are three broad theme areas occupying more than a third of the movement, a development based primarily on themes one and three, a recapitulation (minus the third theme area) , and a brief coda. The underlying impulse of this movement is an exuberant, insistent outpouring of energy, demanding a high level of playing precision and physical endurance from the performers. Program note by David Maslanka.

Happy Birtthday to Vinnie

the best maslanka symphony

31:07 For my audition

Hey Vincent I really like your overtures, they remind my sometimes a little bit of Rossini and Beethoven and they are usually very cheerful in character. I also wanted to let you know my second symphony is out on my channel and I would like some feedback from you :) good job, and remember to keep composing!

Amazing

Northfield Overture No. 2 in F major is a sequel to my late 2022 work, Northfield Overture No. 1 in G minor (Op. 14). It is the second installment of what will be four Northfield Overtures, each representing a year I spend at St. Olaf College (in Northfield, MN), as well as representing a season of the year. Northfield Overture No. 1 is a reflection of winter in Northfield, while Northfield Overture No. 2 is a reflection of fall. To me, fall is a season that brings great joy to me. Growing up in southern California, our falls are very inactive and insignificant. But the falls in Northfield are breathtaking. The leaves changing colors and falling to the floor as they get blown around, and the sunsets are truly beautiful sights. Many of the sounds you will hear in this piece are interpretations of what I see during the fall season at St. Olaf. Particularly the constant use of the Major 7th chord, which to me has a great sense of yearning in the context of this piece. Another thing I associate with fall is the horn, particularly in the context of hunting horns. In fact, the modern instrument that we see in orchestras has its origins as a means to communicate within a hunting party. There are three instances where offstage horns will play hunting calls over a drone note held by the strings. The first time is played by one horn, the second time is played by a different, more distant horn, and the third time has them both playing together. The onstage horns can also be heard playing various types of horn calls throughout the entire piece as well. After the final horn call, a fiery and explosive coda emerges and concludes the piece with a triumphant ending, celebrating the end of fall and the start of winter. Throughout the piece, there are also many nods to Northfield Overture no. 1 Stylistically, I can think of two composers who were particularly influential in my compositional process. And that is L.V. Beethoven and Charles Ives. Two very different musicians. I obviously got the idea for an offstage brass call from Beethoven’s Leonore Overture No. 3, and many of the textural aspects, especially the coda are greatly inspired from Ives’s early-middle music. During the slow section of this work, there is a lengthy trombone solo. The melody used in the trombone solo is the same as in my work “October Elegy” for Trombone and Organ. I dedicate this particular section to my friend Leo Barks. I also dedicate the entire piece to Leo Barks, Vincent Cianchetti, and Jake Dreifort. All of whom are trombonists I met during my time at St. Olaf. They have all been extremely influential to my character and have been incredible friends.

Here before 100 subscribers!

Here before 100 subscribers!

Here before 100 subscribers!