Very exciting music. Your orchestration prowess is very impressive indeed. I found the first movement to be richer in coloration and the second movement richer in motivic and melodic content; the two movements complement each other well. The closing bars were particularly exhilarating. I am a composer myself with my own TH-cam channel (which I invite you to check out if you feel so inclined), but I know a few people in my audience in particular who would love this; I will be sending them your way. I too like Rautavaara (love violin concerto and symphonies 7 and 8) and can certainly hear the influence in the tone clusters, notably toward the end. My influences compositionally include Mahler and Ravel but especially the Russians like Tchaikovsky, Rachmaninov, Prokofiev, and Shostakovich. Bravo on this. Subscribed!
@marccaroul4123 wow thank you for the in-depth comment and listening! My master's dissertation (in marking) was research on Rautavaara's stylistic periods, with an analysis on his Violin Concerto acting as the means to divide some of his characteristics. I'm very fond of the work! I would like to repay the listen, I see you have many works uploaded. Which should I look into? :) Again, thank you for the listen!
@alexandrosvavatzanidis4850 my fugue in 4 voices is probably closest to your tonal language. Otherwise my short symphonies Symphonina 2 or 3 which are more romantic but have their stretched tonality reserved for climaxes. My prelude no. 6 is perhaps the most individual. Would love to hear from a mind like yours on my music. Best and continued composing.
I had a chance to listen to this twice and actually I listened to the 1st movement 3 times. What comes through over all is a stylistic consistency, many wonderful and remarkably beautiful textures--especially the tone clusters. I wasn't sure I was getting the gist of the 1st movement thus the 3rd listen....While a number of motif-like phrases appear they are followed each it seems only briefly and I found no overarching focus--an almost stream of consciousness kind of movement in which all the choices are intuitive and the motivic relationships are shadowy approximations. It nevertheless makes a unified impression. I suspected this was by design as a contrast to the very motivically focused 2nd movement (the whole movement is born right at the end of 1st movement with the announcement of that restless and seeking motif). There is of course a release of pent-up energy in the 2nd movement in the fast music which eventually opens up to a great vista of spiritual calm and beauty. This is a well-designed journey that does indeed create a sense of having come from an obscure and unsettled place and arrived at a both mysterious and beautiful plane. My main complaint is the sound font. How ravishing this would sound in MS4--just to get a truer sense of the beauty of your textures and sonorities would elevate this work significantly. The only other minor issue (perhaps just a matter of my own tastes) the way in which the fast music, despite its energy and urgency, doesn't actually lead anywhere, it ends and leaves us very much where it began. Being perhaps by design again, a frustrated energy that is not connected harmonically to the world around it. Indeed it would be hard for it to develop without a surrounding harmonic agency to guide it. The addition of that may have made such passages more dramatically satisfying. This is really overall, a rich and detailed symphonic canvas.
Wow thank you for the multiple attentive listens and detailed commentary. I always appreciate honest comments. On the technical note I completely agree, I actually had some large technical issue and had to go back to NotePerfomer2, I suspect I may do a re-rending once I have sorted out my PC woes and get NotePerformer4 installed. For anyone reading this before listening, please click away until after the listen: As for the stylistic pointers I cannot tell you how great it is to hear that you were, perhaps, a touch frustrated by the arch of it. I never want to give some sort of narrative and programme to my works, however what you have described is precisely some of my deep, guttural feelings at the time of writing this. I have had a few comments about the relentless frustration that can be heard which was very much parallel with my personal life at the time. That movement in particular is supposed to be analogous not to the dramaturgy of a hero's story which I often go for, but more the backend sublime peace and fortitude of relinquishing oneself. Because often we cannot change our nature and only merely accept it. Part of my Masters of Music was analysing much of Rautavaara's music which also has this very cyclic, looping nature to his music. Again, thanks very much for such a thoughtful write-up!
@@alexandrosvavatzanidis4850 And I should add after listening to Movement II a 3rd time that this restlessness does work quite well and makes its point...plus I would be remiss to add that there are any number of rich harmonic interjections offering possible ways out, suggestions that the restless figures do not seem to have any interest in following. Which as I listen more to makes me revise my critique of these passages...they are effective and match your intent quite well.
Wonderful.
Listening again. The final minutes are just so intensely beautiful and and otherworldly.
Thank you, John! And again, thank you for listening (repeatedly)
Such a brilliant work Zandros - so so proud💛
@bellastrydom9747 thanks dear 💙
My maestro 🥺
@@anekinpockpass9144 my maestro 🥺 back!
Very exciting music. Your orchestration prowess is very impressive indeed. I found the first movement to be richer in coloration and the second movement richer in motivic and melodic content; the two movements complement each other well. The closing bars were particularly exhilarating. I am a composer myself with my own TH-cam channel (which I invite you to check out if you feel so inclined), but I know a few people in my audience in particular who would love this; I will be sending them your way. I too like Rautavaara (love violin concerto and symphonies 7 and 8) and can certainly hear the influence in the tone clusters, notably toward the end. My influences compositionally include Mahler and Ravel but especially the Russians like Tchaikovsky, Rachmaninov, Prokofiev, and Shostakovich. Bravo on this. Subscribed!
@marccaroul4123 wow thank you for the in-depth comment and listening! My master's dissertation (in marking) was research on Rautavaara's stylistic periods, with an analysis on his Violin Concerto acting as the means to divide some of his characteristics. I'm very fond of the work! I would like to repay the listen, I see you have many works uploaded. Which should I look into? :) Again, thank you for the listen!
@alexandrosvavatzanidis4850 my fugue in 4 voices is probably closest to your tonal language. Otherwise my short symphonies Symphonina 2 or 3 which are more romantic but have their stretched tonality reserved for climaxes. My prelude no. 6 is perhaps the most individual. Would love to hear from a mind like yours on my music. Best and continued composing.
I had a chance to listen to this twice and actually I listened to the 1st movement 3 times. What comes through over all is a stylistic consistency, many wonderful and remarkably beautiful textures--especially the tone clusters. I wasn't sure I was getting the gist of the 1st movement thus the 3rd listen....While a number of motif-like phrases appear they are followed each it seems only briefly and I found no overarching focus--an almost stream of consciousness kind of movement in which all the choices are intuitive and the motivic relationships are shadowy approximations. It nevertheless makes a unified impression. I suspected this was by design as a contrast to the very motivically focused 2nd movement (the whole movement is born right at the end of 1st movement with the announcement of that restless and seeking motif). There is of course a release of pent-up energy in the 2nd movement in the fast music which eventually opens up to a great vista of spiritual calm and beauty. This is a well-designed journey that does indeed create a sense of having come from an obscure and unsettled place and arrived at a both mysterious and beautiful plane. My main complaint is the sound font. How ravishing this would sound in MS4--just to get a truer sense of the beauty of your textures and sonorities would elevate this work significantly.
The only other minor issue (perhaps just a matter of my own tastes) the way in which the fast music, despite its energy and urgency, doesn't actually lead anywhere, it ends and leaves us very much where it began. Being perhaps by design again, a frustrated energy that is not connected harmonically to the world around it. Indeed it would be hard for it to develop without a surrounding harmonic agency to guide it. The addition of that may have made such passages more dramatically satisfying. This is really overall, a rich and detailed symphonic canvas.
Wow thank you for the multiple attentive listens and detailed commentary. I always appreciate honest comments. On the technical note I completely agree, I actually had some large technical issue and had to go back to NotePerfomer2, I suspect I may do a re-rending once I have sorted out my PC woes and get NotePerformer4 installed.
For anyone reading this before listening, please click away until after the listen: As for the stylistic pointers I cannot tell you how great it is to hear that you were, perhaps, a touch frustrated by the arch of it. I never want to give some sort of narrative and programme to my works, however what you have described is precisely some of my deep, guttural feelings at the time of writing this. I have had a few comments about the relentless frustration that can be heard which was very much parallel with my personal life at the time. That movement in particular is supposed to be analogous not to the dramaturgy of a hero's story which I often go for, but more the backend sublime peace and fortitude of relinquishing oneself. Because often we cannot change our nature and only merely accept it. Part of my Masters of Music was analysing much of Rautavaara's music which also has this very cyclic, looping nature to his music.
Again, thanks very much for such a thoughtful write-up!
@@alexandrosvavatzanidis4850 And I should add after listening to Movement II a 3rd time that this restlessness does work quite well and makes its point...plus I would be remiss to add that there are any number of rich harmonic interjections offering possible ways out, suggestions that the restless figures do not seem to have any interest in following. Which as I listen more to makes me revise my critique of these passages...they are effective and match your intent quite well.
Imagine your brother is Bach
Imagine your brother is Marlon Brando