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Topic: "Barcelona Was..." - New chamber work

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  1. #1

    "Barcelona Was..." - New chamber work

    Since I haven't posted anything new in awhile, here's a little miniature I thought I'd share.

    Barcelona Was... - 3.4 MB

    It was inspired by my own rules I set out for the "Skysaw New Music Prize," though I broke a contest rule or two. I don't suppose anyone will mind, since I'm not eligible anyway.

    Instrumentation (GPO/JABB):
    2 Violins
    Flute
    Trumpet (cup mute)
    Tuba
    Accordian
    Guitar
    Vibraphone
    Finger Cymbals
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  2. #2

    Re: "Barcelona Was..." - New chamber work

    Well, that was interesting!

    Dissonance and consonance
    bitter and sweet

    That is not quite the way I'm approaching the piece but than it's all open to interpretation, right?

    The opening had me a little startled at the starkness, but as the piece progressed it really took on a curious life. I liked it!

    Thanks, Jamie
    Now go get rid of that awful flu!
    [Music is the Rhythm, Harmony and Breath of Life]
    "Music is music, and a note's a note" - Louis 'Satchmo' Armstrong

    Rich

  3. #3

    Re: "Barcelona Was..." - New chamber work

    Classic Kowalski, lean and spare, and it always takes a listen or two to grasp the handles at both ends of the broader span of the idea.

    You couldn't possibly submit this to your own contest, even under a nom de plume -- we'd all know it was you.

    My usual first reaction: What the hell's Jamie think he's doing?

    And my usual second reaction: Ahhhhhh!

    Best,

    David
    www.DavidSosnowski.com
    .

  4. #4

    Re: "Barcelona Was..." - New chamber work

    Quite outstanding! Like David says, it takes a few listens to get firm grasp on what you're doing, and for such a short piece, there's quite a bit to understand !

    Great piece!!
    Kind Regards

    Louis Dekker
    My Music Site

    Pour être grand, il faut avoir été petit.

  5. #5

    Re: "Barcelona Was..." - New chamber work

    This is right up my alley! Plenty of surprises and wonderful compelling freshness to it all. Thanks for the imaginative piece. Enjoyed listening.

    Paul
    Mac Pro 2X2.8 Ghz Quad-Core Intel Xenon, 10Gb 800 MHz DDR2 FB-DIMM, OS10.6.4, Finale 2011, Digital Performer 7.1, Altiverb 6, Yamaha S90, Built-in audio, GPO, JABB, Garritan Authorized Steinway (Pro), Reason 3, M-Audio Ozone, Giovani, Symphonic Choirs, Kontakt 2, Vienna Symphonic Library. Website:http://www.paulread.ca

  6. #6

    Re: "Barcelona Was..." - New chamber work

    Thank you all for the kind comments.

    Quote Originally Posted by etLux
    My usual first reaction: What the hell's Jamie think he's doing?

    And my usual second reaction: Ahhhhhh!
    This in particular brought a smile to my face. The first few bars are quite stident, but everything is eventually sorted out into its proper place. I'm guessing that's what you're referring to?

    Quote Originally Posted by LouisD
    ...it takes a few listens to get firm grasp on what you're doing, and for such a short piece, there's quite a bit to understand
    To be honest, I don't always "understand" my work, nor would I expect anyone else to. I have a very deep understanding of theory, harmony, counterpoint, and orchestration, but I still often get surprised when listening to my own works.

    I remember studying with Edward Miller in my second year at Oberlin many years ago. Miller was very into numbers, pitch sets, methodical extrapolations, et al. I brought him a section of a piece I was working on and he asked me "where do these notes come from?" I said simply "they sound right." He would not accept this answer, and it put a real damper on our working relationship. I don't think he understood that sometimes notes come from somewhere, and sometimes they don't.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  7. #7

    Re: "Barcelona Was..." - New chamber work

    Quote Originally Posted by Skysaw
    This in particular brought a smile to my face. ["Ahhhhhh!"] The first few bars are quite stident, but everything is eventually sorted out into its proper place. I'm guessing that's what you're referring to?
    Jamie, when I listen to your work, it tends to take me several minutes to put it together in my head. Then, all of a sudden, everything fits... and there's this very satisfying dawning of understanding; hence my comment. I suppose if you want to get all theoretical about it, you could say there's a broad integration along long lateral lines with very sparse vertical integration -- so short segments don't carry enough meaning to evidence the content -- only the whole piece or a larger segment of it does.
    Quote Originally Posted by Skysaw
    To be honest, I don't always "understand" my work, nor would I expect anyone else to. I have a very deep understanding of theory, harmony, counterpoint, and orchestration, but I still often get surprised when listening to my own works.
    Gosh, now that sounds like a familiar sensation... lol.

    Quote Originally Posted by Skysaw
    I remember studying with Edward Miller in my second year at Oberlin many years ago. Miller was very into numbers, pitch sets, methodical extrapolations, et al. I brought him a section of a piece I was working on and he asked me "where do these notes come from?" I said simply "they sound right." He would not accept this answer, and it put a real damper on our working relationship. I don't think he understood that sometimes notes come from somewhere, and sometimes they don't.
    "They sound right" is ultimately the only reason to put notes on the page.

    My best,

    David
    www.DavidSosnowski.com
    .

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