ZJStrudwick

Helloooo... sorry to comment on this thread months later but the topic greatly interests me... I too have been through existential crisis as a music student, and since graduating (and leaving the greatly damaging stress of it all behind!) I have come to see things much more clearly.... It is easy for music students, in the intensity and wild ambition of youth, to build such a big sense of identity on a dream for which there is seemingly unquenchable enthusiasm, which may very well cave in when one finds that the roads are not paved with gold, that the grandiose image of the 'great composer' is one built over the appreciation of millions of people over centuries, and that one can not have it all to begin with. Indeed, achieving such status is as much skill as it is simply luck of the draw, to be well received by society and to achieve prominence in history. HOWEVER - the composer him/herself is but a mere mortal human being, with mortal concerns... Mozart was primarily concerned with paying the bills - music being the talent at which he excelled, it was of course the path he took professionally, and bear in mind that the musical establishment and audience were different in the era and location in which he was composing, he very much wrote for a market - a very clear cut audience, and very powerful patrons - the double edged sword of a far less egalitarian society than we know today, with a more feudal kind of domineering aristocracy... their power and privilege was in many ways tyrannical and unjust, but equally they funded a lot of powerful art which transcends the power structures in which it was produced. Please forgive the deeply academic and possibly pompous language... but this is where we get to the crux of the matter, the purpose of art - the simple fact is, it is a part of what it means to be human. It is expression... art in itself is largely abstract, and thus so too is its 'purpose'. Perhaps an analogy might prove helpful; I pose the question - imagine a highly unaesthetic dystopian future world as found often in science fiction, where with great technological advancement, people have reduced the time and energy taken to fulfil the need of fuelling the body, to a process of such simple convenience that they need only swallow a pill once a day... But I ask you, if such a convenience were to exist, would you willingly give up the pleasure of experiencing a full plate of the most delicious meal, cooked to the highest standards of gourmet perfection - perhaps you might say, artistry? We know it is not a NEED, but do people not have the right to enjoy such a pleasure? In one of his books, one of my university professors, Julian Johnson wrote something along the lines of "artistry and culture emerges in societies whose subsistent needs have been met"... essentially, if you're a hunter gatherer tribesman, you're far less concerned with composing symphonies than hunting for your next meal, so as not to starve to death. We have been left with a legacy from the age of enlightenment, that of classical music, which emerged in a society whose level of wealth and technology began to allow such music to be created and enjoyed. I know the professionals will scoff at this remark, but in many ways music is a hobby... it is simply something to be enjoyed, to enrich life. The fact is, entertainment is a function.. and thus that is the function of music, to make life more bearable and provide enjoyable moments. It matters not what particular taste one has, or the personal identity one may form with the aid of it, and whether the way in which this entertainment is conducted is ethical or not, but the fundamental purpose remains the same. And on that note... perhaps have a break and try another hobby for a little while, then when there has been enough time to come back refreshed, maybe try listening to something new - who knows, you might enjoy it!

Very skillfully played! Admittedly have yet to listen to the whole thing but in the first movement I've enjoyed the exotic harmonies and vigorous rhythms... seems fun to play!

Thank you very much for your feedback! I'm really glad to hear you enjoyed it... I personally believe there is no such thing as music that is 100% original and very often I will be hugely inspired by a thematic idea from another composer where I am dissatisfied and want to make something much more out of it! I am often inspired by the various pieces I play in ensembles and there is definitely a sort of sponging of inspiration from different places... but really I think that's how pretty much all composers get their inspiration (or at least the vast majority). I suppose really what makes a composer original is how they put these inspirations together, and in this case I am very glad you enjoyed the journey of this piece, which is what symphonies and concertos are all about!

Thank you I'm so glad you enjoyed it! Yes I'm rather proud of the opening.. not to flatter myself but I'm certainly pleased with the fluidity of voice leading, and the enigmatic quality of the opening theme!

Thank you for your very kind feedback! With the more jarring bits (I assume you mean the quintal harmony section in the finale?), it is a deliberate contrast between the familiar and the unfamiliar... it is meant to be jarring! For me it is the music of anxiety... In terms of how I was feeling, well the vast majority of the music I wrote only when I was inspired.. that is, I found the idea highly potent and emotionally appealing. There are great joys, also sorrows, depressions and anxiety, and love (or rather a longing for which) all put into this. Personally one of my favourite bits is the chorale-like string section in Db major in the 2nd movement... of course music is subjective, but for me it is definitely a longing for someone wonderful... apologies for the romantic cliché, and moaning about my love life! Sorry, re. Jacob Collier... which section did you mean? I suppose my view on composing is similar to Gustav Holst, who said “Never compose anything unless the not composing of it becomes a positive nuisance to you.” For me, that means I only write something when I am compelled to, because the idea is so enjoyable - which for me, means it is thematically strong, emotionally potent... in some ways being a composer feels like being a sorcerer, conjuring up different emotions and experiences! Of course the enjoyment of music is something subjective - everyone has a different taste and looks for different things in their musical enjoyment (indeed, different things appeal to one at different times, when one is in a different state!) But essentially, I have succeeded when I have created an enjoyable and potent experience, all the more so when other people enjoy it too. P.S. Lol 'd***ride', never heard that term before, made me laugh! (are you American by the way? Google said it's of American origin... I'm over the sea in old England!) Thanks, Zeb.

yknow whats really funny is I had never heard that until after I composed this, when someone pointed it out.... was quite enraged really! But I figured its not enough to be plagiarism... only a small motif / harmony... it came to me as the natural progression of the pastoral theme, which just so happened to be the same harmonic progression and similar motif as in the Franck! If I'm really splitting hairs, the motif in the Franck goes up a semitone then between the third and the tonic; in my piece it only alternates between the third and the tonic, and is an extension of the pastoral theme which is different (A, D F# F# A--F#D). Anyway what I'm getting at, is it is such an integral theme in my concerto, I thought it wouldn't be worth changing/removing it and then consequently having to rework the whole thing - too much effort, and it would no longer be the organic product of the original! Anyway, do you think it is too much of a similarity to render this work plagiaristic and invalid? Many thanks for your feedback, Zeb.

Why thank you, very kind! I know it's quite the inflated work, so I'd be very grateful if you'd take some time to mull it over - would love some more detailed opinions, and perhaps dare I say - something critical? 😛

It's beautiful, atmospheric, relaxing, emotive... May I ask why it's called dance of the dragons though?? curious to know what about this is evocative of dragons for you??? And also as a technologically backward classical composer, I'm curious about the instrumentation... piano, some kind of electronics, an electric guitar and strings?? Oh and a good percussion section of course... Very lovely though, would love to listen to this on a night-time drive. Regards, Zeb.

Most atmospheric, reminiscent of travelling to a new weird and wonderful land... lovely complex harmonies. This is surely not a sonata as it is for an orchestra! Perhaps you could call it 'concerto for bassoon, piano and orchestra', or maybe with the exotic harmonic language, it's more like a tone poem - perhaps you could give it a name, think about what the music evokes for you... perhaps "[name] for solo bassoon, piano and orchestra" Just a couple of ideas, hope this helps in some way! Regards, Zeb.

Hello, newbie here! Sorry for lack of suggestions, but love the harmonies you have produced, very exciting. Regards, Zeb

Hello! I'm new here, thought I'd add some thoughts... As a violinist, technically the writing is good, all playable. The only thing is, as a composer, my opinion is that the piece lacks strength melodically. I think it would be important for you to study cadences (how to end phrases) in scores by the great composers, and just generally which steps of the scale like to resolve to which notes (if that makes sense??), to develop an elegance of movement and phrasing which sounds more refined. I will be brutally honest - this piece sounds a bit like a technical exercise with lots of scales and arpeggios, but weak thematically, didn't personally find any memorable melodies to it. Apologies if I have been harsh in my critique! Regards, Zeb.

Hello all, new here so if you have three quarters of an hour to spare then I hope you'll enjoy my newest piece (also my largest scale). Synthetic recording created with Sibelius 7 notation software and Noteperformer sound library by Wallander instruments. Info on piece available in video description... looking forward to any comments and/or questions! Instrumentation - violin solo with symphony orchestra; 2 flutes, 2 oboes, cor anglais, 2 clarinets in Bb, 2 bassoons, contrabassoon; 4 horns in F, 3 trumpets in Bb, 2 tenor and 1 bass trombones, tuba; timpani; harp (3rd movement only), strings. Sorry I have included the score as PDFs, seperate for each movement (as I was writing each movement as a separate Sibelius file)