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Comments from the composer: "My piece, Crown of Thorns, is about beauty under attack."

I have completed the first and second movement of my wind quintet and I am in the process of completing a rondo as a third and final movement to this work. I will probably use the second movement for a competition local to my home, the Isle of Man. There are usually only two others who compete in the composition class - the same two every year! - and we couldn't offer more different specialisms. I will be eternally grateful if an experienced contrapuntalist offered some of their wisdom should I need it. Obviously I am adhering to the classical tradition. I have spared you this time from repeating sections. I do not intend to add any repeat bars for the competition. EDIT (9/1/2020): I have now finished this work. I had to rework some parts of the first movement due to a couple of parallels. I also added some more material to the flute part in the second movement development as I felt it was somewhat absent during a particular passage. The third movement, which is a rondo form, closely follows the structure of JC Bach's rondo in his Sinfonia Concertante in C Major, C42, for which I have started a post in the music appreciation part of this forum for those interested. Covid has unfortunately led to my local community to lock down recently, so I will be able to focus some more of my time towards music pursuits! Thanks for listening. Markus

I have looked at the opening theme specifically to keep this brief and simple. The main melody that you have written follows a familiar pattern that can be defined in four stages: 1-2-7-1 (the numbers represent the values of the scale). As a composer, you should identify such patterns and formulate respective values that not only compliment but also counter that pattern. In my example, I have written 1-7-5-1 in the bass (it could also be written 1-7-2-1, depending on what you desire). In addition to this, I have altered your cadence which marks the end of the pattern in such a way that makes it a little more interesting and refined. Also, at the end of a cadence, there opportunities for the lower parts to support transition to the new musical phrase, which I have done, again, in contrary motion to the upper part. I then elected to modulate to B Major for it was convenient to do so from the 2nd degree of E Major (F#). Finally, I also found 2/4 time much more fitting since you have effectively written two phrases of music that are each more clearly defined as 4 bar patterns. Such designs originate from simple ideas. Robert Gjerdigen (a Music theorist who specializes in this kind of music) illustrates this rather well in the below video. The topic of the video is realization of partimenti, a form of exercise commonly used by students of composition during the 18th century. The student would identify standardized patterns written for either bass or treble clef and learn how to exploit them... much like how we have done here.

Hi. I just composed it from the inspiration of the moment. It doesn't necessarily have to convey anything. I was just going to add the following past definition I had about my soliloquies to my previous response to you: "I call many of my pieces by the name of "Soliloquy" which to me signifies a short (aphoristic), reflective, often calm, and sometimes sad, piece written for one instrument (or sometimes a set of instruments behaving as one). These pieces often serve as a kind of character sketch of the particular instrument for which they are written, and/or to present a single musical statement/argument in a brief yet parsimoniously meaningful manner. " (My definition. March 20-21, 2013)

very nice, congratulations on completing this. In general, the three movements are similar in theme. It's a feat that you can extend these for ten minutes. especially your melody in the second movement has a very nice and romantic feel. a little too much repetition but that's okay. there is nothing i can add to this. thanks for sharing. How long did it take you to write all three movements?

Much respect for you. This is a well put together work. What is your method of composition... do you write sketches by hand before computerising? I’m rather curious.

Great questions. Yes, only pick your top two favorites. First choices will be weighted twice as heavily (i.e., two points instead of one). We'll tally up the three highest scoring submissions once the poll is closed.

Incredible work, especially the last movement. Reminds me of Schumann but clearly in an original voice. Also my compliments to the performers, such a masterwork certainly masterfully performed.

If you continue to make music as sincerely, interestingly and honestly as you do, then I'm your listener for life. But, to be honest, I like miniature cycles of pieces a little more than large forms. Anyway, thank you for your music.

Comments from the composer: "This is a piece for orchestra that I wrote based on Yoshimatsu's theme. The theme in it's original form (as in both the rhythms and the pitches of the theme) does not appear anywhere in my composition. However, I kept the piece in it's original key of D minor, so the pitches of the original piece should be easy to spot for anyone looking through the score. I also used inversions of the theme, retrogrades and inversion retrogrades (loosely rather than strictly). With respect to the inversions and inversion retrogrades I used tonal/diatonic versions rather than "real" inversions (I transposed them diatonically into the key/pitch level I wanted them to occupy). This is a medley where each of the themes that comes up is a variation of the theme. Also, the bass-lines, accompaniment figures and counter-melodies are also based on the theme. Although the harmonic progressions aren't directly derived from the theme. I hope you enjoy listening!"

What a beautiful opening! I like the counterpoint everywhere, nice textures with it. Yes, the end is surprising...