Luis Hernández

I think transitional periods are very interesting. This is the case with the galant style, which is firmly rooted in Baroque conventions but where dense counterpoint begins to give way to clearer melodies and accompaniment. Something similar happens between the Classical and early Romantic periods. I’m listening to your recommendation of Kraus, whom I wasn’t familiar with (Symphony in C minor), and it’s fantastic. I think the choice of instruments in your symphony is spot on. It depends on whether the approach is more chamber-music-like, as seems to be the case here, where there are many independent lines. As if it were an expanded quartet… It’s true that as soon as you move on a little in the style, chronologically speaking, you already come across flutes, oboes, bassoons and horns in pairs. Besides, if you don’t know what to do with so many instruments, you’re bound to get it only half right. This reminds me, albeit in a different context, of the fantastic versions of Chopin’s two piano concertos with a string quartet or quintet. Although it seems that Chopin himself used this arrangement for the music salons of the time, there are versions arranged by other composers. What I mean is that some pieces lend themselves to different approaches. Others do not lend themselves to interpretations that stray too far from their original spirit. Like when Wagner reorchestrated Bellini’s Norma in a ‘massive’ style, and then disowned his own version (it’s never performed; Bellini requires lightness, not a Wagnerian orchestra). Anyway, I’m getting off topic. Best regards

Hello It’s a beautiful ballad that stands out for its delicacy. It’s true that some accompaniment patterns are repeated quite often. Particularly the quarter-note chords in a steady rhythm. Yes, I know that when this happens, many people say: ‘Ah, look what Chopin does in Prelude No. 28, No. 4’. That’s true, but in that piece – apart from the fact that it’s very short – those steady-rhythm chords are the essence, because the charm lies in the voice leading within the same chord. There are many ways to explore changing that. You could even try moving the melody to the left hand and the chords on top…

An interesting question. I’m not going to add anything substantially new to what has already been said. What would happen if a generation of children were exposed only to contemporary music, completely ignoring tonal music? We’ll never know. The point is that we cannot ignore tonal-functional music. For two reasons: 1) Historical. It is impossible to understand how Impressionism, late Romanticism and Schoenberg emerged. 2) Some musical languages are closer to the traditional (Impressionism?), but they will always be based on concepts from earlier music. Furthermore, since the 20th century, there has been an enormous explosion of styles. Many composers developed their own musical languages (Bartók, Messiaen, Cage, etc., etc....). I believe that delving into each one requires that solid foundation. The same applies to understanding and using extended harmonies, harmonies in fourths or seconds, clusters, mirror composition and a thousand other things....

I’ve listened to the current version. I must say I loved it. And I’ll make a little confession. I like all musical styles and periods, from early music to contemporary. I have my favourite periods (the Baroque and Galant periods, late Romanticism, Impressionism and Expressionism, and in contemporary music, some things I like and others less so). The truth is that when I took the time to study music a little chronologically, I discovered how things develop. I say this because the Classical period is one of the ones that appeals to me the least. I think it’s down to the aesthetic they use, which is somewhat restrained – and well, we all know what this style is like. Your symphony seems to be in the Classical style, with hints of early Romanticism. It’s not that I’m obsessed with categorising things, but it helps to find points of reference. Regardless of that, when someone writes something like this with creativity, inspiration and a lot of hard work behind it, I love it, whatever it sounds like. Here I notice that the orchestra is of an early style; the woodwinds aren’t even in pairs and there are no brass instruments. But the way it sounds, it isn’t really necessary, to be honest. One of the things I’ve really liked is the clarity with which all the instruments sound when they have to stand out against, at times, a denser texture. There’s a moment when the bassoon takes the lead and it’s brilliant (bar 58). There are some lovely moments of counterpoint, such as the woodwinds from bar 20 or thereabouts. I think the score has been very carefully put together. What’s more, the music library sounds brilliant (is it the one from MuseScore?). Best regards.

Hello, thank you for listening. I agree with what you say on these two points: 1) that a piece of music is worth more or less (to each person) depending on whether it ‘speaks’ to them. It’s just like when you read a poem. I understand that many people feel comfortable listening to and making more traditional music. And one of the ‘mistakes’ I often notice is trying to apply patterns, structures or whatever from pre-20th-century music to music that aims to have a different, contemporary style. And I’m not just referring to dissonance, which for me isn’t really dissonance at all. It’s a question of tension and release, achieved through many different mechanisms. 2) Of course, from experience I know that there’s nothing random about making music of this kind. Or at least that’s the intention. The form isn’t traditional either. I’ve always liked writing music of this kind in a mosaic format, or as units or blocks that follow one another as one sees fit (as Stravinsky or Cage did). I’ll probably revise this in due course. Not necessarily to make it longer, but to refine certain transitions.

@UncleRed99 OK, thanks – that’s an understandable reaction.

Hello A few years ago, whilst on a course I took on ‘Contemporary Composition Techniques’, I wrote a short piece for piano which I later revised and titled ‘One more try’. Recently, I had the idea of orchestrating it. It is written in a free, non-functional, chromatic style. The score isn’t condensed because the instruments that come in pairs often have very different or distant lines. It’s in concert pitch. Below is a video of the piano version. One more try orch.pdf One more try 2.mp3 One more try 2.pdf

A lovely piece. I like the relative simplicity of the composition. A suggestion: given the calm, dreamy, almost ethereal nature of the piece, perhaps you might have tried using harmonics on the violins in the upper register, as these are long notes that are relatively easy to play. I don’t know if you’re familiar with this, but it’s a very effective technique for pieces like this. Almost like a ‘rule of orchestration’, I think the harp should have a note at the very end. Otherwise, the player is left ‘hanging’. Of course, you can write whatever you like. Best regards.

A very, very beautiful piece. With a touch of Baroque or galant inspiration, I’d say. It’s brilliant that, with relative simplicity and just a few instruments, you’ve created such a dreamy and nostalgic atmosphere.

Hello I’d like to share part of my Humanist (non-religious) Requiem project, in which I’ve set myself the following objectives: To use a blend of contemporary and traditional languages To use texts by poets who fascinate me To write calm, short pieces To mix Latin with English I’m using Cantai for the vocals – it’s not the best it could be, but I’m happy with it. For the instruments, I’m using Noteperformer. Everything is managed within Dorico. It’s an idea I’ve had for a long time, one that expresses – or at least attempts to express – my concerns in this life....... Best regards. Introito.mp3 Introito- The Origin.pdf

What fascinating music. The compositions are fantastic. The piano part is very well crafted but complements the vocals perfectly. I think you’ve captured many Latin rhythms perfectly; in this style, it’s difficult to separate the Spanish from the Latin American elements, as the influences are mutual. I really appreciate the effort you’ve put into playing the piano yourself, as I understand it. The overall sound is very distinctive because this cycle of songs sounds entirely like a style of popular Spanish ‘tonada’ (from which the ‘tonadilleras’ are derived). Originally, the ‘tonadilla’ was a traditional Spanish song of a cheerful and popular nature, performed as an interlude or at the end of satirical plays between the 18th and 19th centuries. Over time, the concept evolved from classical theatre towards the café-theatres and variety shows of the 20th century. Nowadays, the term is directly associated with the great divas of Andalusian copla and Spanish folklore, characterised by their high level of expressiveness, the wearing of long-tailed gowns and a highly dramatic stage presence. Initially, this type of music was accompanied by the guitar and perhaps a small orchestra featuring folk instruments (castanets, tambourines, dulzainas, etc.). But at the start of the 20th century, it evolved to be accompanied by a solo piano – which is how your music sounds – and it also has a very strong ‘cabaret’ feel to it, as it is recorded live, as I gather. As for the language. Well, I’m a native Spanish speaker. It’s quite – very well done. I’m also struggling with these programmes that sing along to lyrics… and I know what a pain it is… The accent is very neutral. It certainly doesn’t sound like any Latin American accent I recognise, let alone an Andalusian one. It’s close to a central Spanish accent (Castilian, as you rightly say) but there are moments when it sounds a bit ‘forced’ – something that many real singers in Spain do. Bravo, and it’s a pleasure to listen to it. And I love it when someone delves deeply into cultures that aren’t their own, perhaps, to bring all this out.

A magnificent and delightful fugue. The string quartet is phenomenal here.

It’s always a pleasure to give my opinion (I don’t think it’s quite right to say ‘judge’...) on the works of my fellow musicians. And these competitions make you listen to the pieces more carefully.

A very beautiful piece; I like the way it has such a restrained use of colour. And the piano part is very characteristic of the style. Well done.

Hello It’s quite a pleasant piece. But I agree. There’s some technical issue I’m not aware of, but it all sounds very unbalanced. On another note, I don’t know what your background or training is. But I think there are certain pitfalls we all fall into when we’re beginners (and even until we’ve gained enough experience). And that is: we put a large orchestra on paper (or screen) and think that by filling it up as much as possible, we’re orchestrating. But that’s not how it works. I think your first orchestrations should be with small, chamber orchestras.