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Again, it depends on the music, let's say.... Khachaturian - Gayaneh, more difficult for the players, easier for the conductor. Shostakovich - Sym.11, easier for the players, more difficult for the conductor. Stravinsky - Sacre, difficult for performers and conductor, Stockhausen - Gruppen, difficult for performers, conductor, audience, auditorium, chairs....

Hi. I was listening to a piece, when I noticed 155 votes. I have never seen that much. S, I really hope it's a sign that the system is working very well. But changes are that there is being cheated. Can this be checked? it about the following thread: http://www.youngcomposers.com/pg/Music/forrestcoff/composition?entry=48673

Thanks Manam for listening and bumping this. It has been half year ago I posted this :) I agree with the overall tendency to consider the 4th the weakest. As I stated to Serge before it is more because of the text I know lies behind the melody of the psalm that it appeals to me. Musically is not so much going on there. That is why I decided to replace it with a chorale setting I wrote around the same time on the same chorale on which Lamento 2 was based. I am a bit suprised to see people tend to like nr 1 above nr 3. Maybe it is because I wrote nr 3 after a sad happening during a holiday (something I seldom do) that I am so attached to it, but I think there is musically something really nice going there. I am very fond of its structure ABA'B'. In A each statement is repeated exactly the same, where in A' it gets harmonically altered. Dont mind me saying it myself, but I think for example the F-natural in ms 47 is gorgeous :D Needless to say I think lamento 1 is fine too. I think it is well developed, a little canon in the end, but the basic material is almost a bit boring to me. Glad you like it nonetheless :D

The first one is very beautiful, but sometimes the harmonic progressions seem sort of "square" to me (m. 7 to the first beat of m. 8 is a good example; my mind wanted it to go to a C# major chord). I don't mean "square" in terms of the harmonies themselves (the harmony I just mentioned is about as "predictable" as it gets), but where you place them. The only other place that gave me trouble were the last two bars - something is unsatisfying about the way you handled the last 4 beats of the piece; something having to do with the voice leading. In any case, the rest of this is gorgeous - it reminds me a lot of early 20th century French music (think Poulenc et al.) The second piece is also fairly gorgeous, in a more severe way. The only thing that I took issue with here is the occasional use of parallel motion between the right and left hand on the last beat of a measure, which struck me as "out of place" in the music. (It occurs three times in the piece: m. 5, 8, and 18). Otherwise it's a very good work in terms of use of a sort of neo-baroque approach; and the spare texture is striking after the thick, chordal music of the first lament. The third returns to the thickly textured approach of the first lament, but within what struck me as a more traditional harmonic context. This isn't to say that it's a bad thing at all - I'm always impressed by your ear for harmony, and it's often the first thing that I think of when your music is brought to my mind. I have no major qualms with this one. The final piece in the set is the weakest, in my opinion. Although you make use of the stunning harmonies that I'm familiar with in your work thus far, there's just not enough going for this one to sustain interest for me. The right hand part in particular leaves something to be desired; not my favorite. My favorites are the first two pieces; if I had to choose between the two I would probably pick the second one just because I like spare, clear textures. Overall, good work. It's interesting to see the development that has taken place in your compositional style even since these were written.

The one with Gary Garritan?