SPHERES - Symphony Orchestra (Sosnowski)

[etLux]

Spheres
For Symphony Orchestra
By David Sosnowski

To listen:
www.DavidSosnowski.com

Best,



David
-----
David Sosnowski
www.DavidSosnowski.com

[englishgent]

Just mesmerizing. I couldn't tear myself away. You have such interesting ways of scoring things - I am learning a lot about orchestration.

Regards to the master chef
Owen

[sd cisco]

David! Bravo!!
An exemplary and elegant piece of music, loved it top to bottom and all around!! Icy and succinct was the piano; time-warping woodwinds and the French Horn and discrete brushes!!, this is a great follow up to PIV! You have the style, talent and grace, to take on and render beautiful, things that might scare the daylights out of ordinary people, and I've seen you do it again and again. Great work David, thank you very much for sharing!

Best regards,
sd cisco

[voclizr]

David;
This is an incredible piece of work. So much strength and raw emotion covered in this.
It's a pleasure to associate with a true modern day classical composer as yourself!
JB

[fabiolcati]

O u t s t a n d i n g - - all caps - -

[FLWrd]

Great use of minor seconds (can't help it, I like them), wonderful, kaleidoscopic textures, well integrated percussion, and it feels as a whole (although it also feels it isn't necessarily finished at the point where it stops). Good rendering, too. Listening to the music, I associated the title with Peter Sloterdijk's Sphären (the German word for Spheres). He takes spheres to compose existence, from very small ones, to very large ones, and they have a foam-like structure, where spheres can grow, and (I guess) explode. I don't know if you know that work (I only have a superficial knowlegde of it), but I can interpret your work as a bigger sphere in which smaller spheres come, clash, and go, weaving an existential tapestry.

Ok, that's enough philosophical banter. I liked it. Quality. Period.

[Rhap2]

David:

Great piece.........The musical engineering connotates a remarkable likeness
to its title....Love the percussion throughout and the mild dissonances. Also,
I liked the way you used the "octave" interval between different instruments.

Highly-pitched instruments are so useful in describing "spacial" settings, but
you didn't overuse them at all; in fact, they lend support to what's happening
below throughout.

I am still amazed at the product you create with Finale. Just super mixes
that sound so real.

BRAVO,


Jack

[sunbird]

Hi David,

Listening to your creations always awakens in me visualizations.

In this piece I could see primeval energies in colors and movements,
and they expressed what was there before forms,
as we know them, were created.

I could also vision it with some kind of stage performance.
The one I visualized was of a modern dance.

Yet again, I admire your clean and precise work which at the same time
is free and boundless…

Thanks for sharing another inspiring piece!

~Yudit~

[swinkler]

You never cease to amaze and surprise Dave. Outstanding work. I do like the sparseness you've been experimenting with lately and the uncluttered sound stage.

I also see you're (or hear rather) that you're doing more with percussion. That's a tough one for me personally. I always feel like percussion is an after thought and that I've cheated the players somehow You're orchestration for percussion is a little more integral with the music.

As always outstanding job.

Steve Winkler

[fabiolcati]

As I love to say, books claim for your reading.
This morning I bought an anthology of poetry from Friedrich Hölderlin.
Here’s the first line I read going randomly through the preface:

... the sphere that's higher than human, this is god ...

I wish I would add a deeper comment to the work of Mr Sosnowski,
but is very hard to me to translate my thoughts in a foreign language.
However, I wish to thank Theo for quoting the work of Peter Sloterdijk.
Here’s what I’ve found on Italian publisher’s site introducing the book, in
Mr Sloterdijk words (hope my own translation is understandable):

According to the tradition, Plato would have put up a sign at his Academy to warn
who was not introduced to geometry to approach [...] I wish not to put up Plato’s
sentence not only to an Academy entrance, but in front of whole life’s door

Then, it seems Mr Sosnowski has devoted himself to short compositions.
May I ask if is he planning to turn back to more extended form, I say a new symphony?