It’s time to provide an update on my music composition work.
Back in the early 1970s I sketched out a “symphony” in five movements that would have a lot of short voice (mostly solo) episodes interpersed with orchestra — not exactly “Das Lied …” (Mahler) but maybe distant related. Some of this got sketched manually while I rode Eurailpass trains over northern Europe in the summer of 1972 (especially on the train from Kiruna back to Stockholm).
There are several “self-contained” little episodes in this mix that could be presented or published and played on the piano as distinct pieces, ranging in length up to about 4 minutes each.
There is a page where I summarize my music output to date. It’s likely to be replaced eventually, but here it is for now, link.
The pieces that I would proposed to publish would be
SU102 “Fanfare” preceded by a prologue mostly in eighth notes, tempo accelerating (not shown yet), 2 min,
SU506Bf, an Andantino in B-flat minor, 4 min, tends to use a base line from the SU102 piece (whose ideas set the tone for all the pieces). The piece will resolve quietly in B-flat major with some harmonic experiments, toward simplification (MP3 shown). This had been conceived as a vocal song called “Losing It”.
SU601G: Adagio Placido in G Major. 2:47, MP3 shown
SU602Ef: Andante, E-flat Major, rather chromatic, 2:10 MP3 shown
Su603Af: Andante, A-flat Major, could be a trio to 602 or stand alone 2 min
SU604Df Hymn, D-flat Major 2 min
(Not shown) Moderato, E-flat Major
There is also a 2-minute “Adagio Religioso” in B Major, called “Chorale Theme” near the top of the link shown there, that is in relatively presentable shape. That appears as a “middle section” episode in the slow movement (third) of the currently planned Sonata 3.
I’ll take a stab at predicting how this will affect the completion of the Sonata 3, mainly the Finale.
The Finale starts (in C “Major”, more or less) with some scale-like passages the quickly move to a playful toccata-like, fugato-like piece, with some vague references to an idea in the last movement of the Mahler 5th. The music tends to slow down a little, then goes into a self-parody, introducing a minuet-like theme from the 1972 work (not shown here), and possibly an allegretto theme in 3/8 vaguely like the gentle “waltz” that provides the finale of the Beethoven Tempest Sonata. All of this is more or less an “Exposition” of a first theme group, with a lot of ideas. There is a question as to whether scherzo-like material can lead to a climax (although Rachmaninoff does it in his Second Piano Concerto, and Eugen D’Albert accomplishes this with the stunning conclusion of his little known First Piano Concerto, a teen composition).
There is an extended, very chromatic hymn theme in F# Major, which I call the “Hold Applause” theme which came to me in a dream. It would be possible to construct it as a separate piece, and it would be singable as a church hymn, except for the constant tonality changes, going through intervals of minor thirds to finally circle back to F#. There is a vague similarity to the Chopin A Major Polonaise Militaire, but I don’t want a salon effect.
Instead of a conventional development, there will be a “middle section” stringing together the themes from the pieces above (starting with a condensed version of SU102, sped up, to provide a reference for what follows). In counterpoint, the fugato theme will dance around constantly, with the materials above providing “ground bass” material, but with less repetition than in a lot of modern music based on the idea. The music will grow more dense and work up to an unresolved dissonance. Toward the end of this section, the four-chord theme that open’s Scriabin’s “Black Mass” would be referenced, followed by some material (in toccata style)
There will follow a candenza, starting leggerio, fighting off being dragged down by a new element, a transplant of the “octave theme” from the Bruckner Ninth, while a little of the fugato is “recapitulated”. It will mount to an even more desperate unresolved dissonance, before the “big tune” F# Major Theme appears, which must find its way back a tritone away, to C Major.
There will be one more brief slowdown to pianissimo (faking those who like quiet endings), and an allusion to the dissonance, in C# Minor, before suddenly resolving to C Major and staying there for a grand conclusion. In about 16 measures the rising theme from the Bruckner 7th plays once, as well as the controversial “Hallelujah” motive (from the “unfinished” Bruckner Ninth) in the treble, on top of the toccata stuff, before the music crashes FFF on two C Major chords, and one more reference to the Applause.
Note that on that file, the Sonatas 2 and 3 are in handwritten PDF format. Sonata 2 is in reasonably readable shape.
I will look into products that might make this flip on the iPad. For example, there is a free PDF Page Flip Reader
(Published: Wednesday, Nov. 25, 2015 at 11 PM EST)