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I had the misfortune a few years back to be at the première of a piece called Vita nuova by a Russian whose name was Vladimir Martynov. God, it was risible - and not for the reason you might assume with contemporary music, a wall of dissonance, but the opposite. It sounded literally as if a ten-year-old had written it with banal little tunes, mindless repetition and silly gimmicks of the choir walking in and out. Worse, he'd managed to persuade Mark Padmore and the London Philharmonic to perform and it was obvious they thought about at much of it as I did and completely wasted their talents. Half the audience left at the interval, and I wish I'd done the same. (Mind you, I might quite like to hear a small section again just to marvel at how excruciatingly bad it really was). The FT seems to agree with my assessment: http://www.ft.com/cms/s/0/304e02fa-ff7d-11dd-b3f8-000077b07658.html#axzz1haRAqeFZ There are lots of pieces I wouldn't care to play or hear: notably the Pachelbel Canon, Boccherini's minuet, the Chariots of Fire theme, Eine Kleine Nachtmusik. Most of these are from needless overplaying in wedding quartets for people who think that hearing such trifles as background music for two hours in the year gives them a claim to being 'cultured'.

Hello, This site does offer feedback about compositions, just there is a section for that, where you upload your music and member comment. this way you won't get much feedback. I will comment about your music, but next time, upload your file with a description and we all could help you more. I think the mix is very clear, even the voice is well mixed, some elements could be a bit louder like that sort of vibraphone, also some more breaks on the beat, specially the hand-clap, also the bass gets a bit lost in some parts, others are fine. In FL Studio always put a few empty bars in the playlist at the end, to avoid the last note is without tail like your final string. Keep it on, is not bad.

Well, I consider it monothematic, only because the second theme you refer to in comparison to the first seems to arise from the first. Also the several sequences Brahms throws in there really help to blur the profile of the second theme which as you said is truncated and quite rhythmic. So to my ear I really don't hear upon FIRST listening a clear cut second theme. I got a little carried away with the reference to Impressionism. What I meant is due to this being written in the 1880's, Brahms had to be aware of some the early experiments in Impressionism. And I point out he doesn't use changing harmonies just for the sake of color, BUT due to the numerous sequences and some interesting and rather extended modulations, it is as if in a more Classical framework he achieves a similar effect once in awhile. But good point, when discussing Brahms one has to be very careful about stylistic influences. Like Bruckner, there are some very advanced foreshadowings in Brahms music which yet cannot be said to betray the conservative nature of his music in comparison to some of his contemporaries. Also, this discussion I set-up to discuss initial thoughts on the form upon first hearing or hearing a piece after a long absence. Oh yeah, and the 3rd movement, talk about a tearjerker with the cello part. And thanks for the insightful, thoughtful comments. Can't wait to here more

Pachelbel's Canon.

Sure, it may be the majority, but it can't be all. You dismiss Yanni simply because. I may not like Hiroshima but I at least understand why I don't and why Pendereki did what he did.