After a pleasant but rather bland beginning, this turned out to be a very enjoyable impressionistic symphony with a strong, vivacious, witty finale. I'll be investigating more of Bacewicz's music.
I would say some of the music would be great for a movie soundtrack. Since I've published 5 screenplays and have 4 more ready to go, when I start negotiations with the studio, I will mention this because some of my screenplays are Spy thrillers. I can hear intrigue in this symphony.
The symphony is ok, with perfect structure and skillfuly orchestrated but nothing special. There is simply not enough inner energy to be memorable in long term.
I know what you mean. I just discovered Bacewicz so I should listen more before I trivialize her achievements, but beyond a genuine command of music theory, compositional tools and orchestration, her generativity lacks a single pivotal idea or sensibility. Yet there are tantalizing, propulsive moments--like 25:37.
1- Drammatico - 0:00
2- Andante - 9:55
3- Vivace - 15:10
4- Finale : Moderato - 20:25
After a pleasant but rather bland beginning, this turned out to be a very enjoyable impressionistic symphony with a strong, vivacious, witty finale. I'll be investigating more of Bacewicz's music.
Fabulous- Thank you for all this Bacewitz music
I would say some of the music would be great for a movie soundtrack. Since I've published 5 screenplays and have 4 more ready to go, when I start negotiations with the studio, I will mention this because some of my screenplays are Spy thrillers. I can hear intrigue in this symphony.
Can you correct this? I don't think it's accurate:
1- Drammatico (9.58)
2- Andante (5.17)
3- Vivace (5.14)
4- Finale : Moderato (8.22)
The symphony is ok, with perfect structure and skillfuly orchestrated but nothing special. There is simply not enough inner energy to be memorable in long term.
I know what you mean. I just discovered Bacewicz so I should listen more before I trivialize her achievements, but beyond a genuine command of music theory, compositional tools and orchestration, her generativity lacks a single pivotal idea or sensibility. Yet there are tantalizing, propulsive moments--like 25:37.