Alex Weidmann

Hi to all. Just wanted to share this recent performance by professional harpsichordist Katarzyna Kowalik, of my work "The Sun Dappled Forest". The work was inspired by J.S. Bach and William Byrd; but I guess it also sounds a bit Halloweeny: so topical! Apologies for the low record level. (Please note the applause at the beginning and end is very loud by comparison!) Hope you enjoy.

Hi Bjarke, Think it's a good piece; but the ending feels rather abrupt to me. If it were my work, I would end with a pattern of descending arpeggios from high to low register, followed by the chords you already have. Might also be worth experimenting with ebbs and flows in the tempo to create some rubato. Not sure it would work; but may be worth a try.

Have listened to all of this now. I noticed all but one of your movements follow the naming scheme of Mozart's Requiem. The suite feels mournful, with a flavour of Antiquity, and makes good use of percussion throughout. Sounds like Halloween music at times. The highlight for me was the mysterious last movement. Reminded me a little of the final movement of Holst's Planet Suite. This comes as a welcome relief, after the frantic dissonance of the preceding movements.

Just made a new version of this with more varied instrumentation, including harp and vibraphone. Hopefully it's an improvement? Added some extra counterpoint on the doublebass, which I wrote myself. Not sure it works!

Thanks Peter! I actually don't have a decent solo violin for MuseScore, but am hoping to pick one up in the Black Friday sales. Those included with MuseStrings sound hideous, so I refuse to use them! I do have a reasonably good patch from Cinesamples; but it has an annoying bug, where the dynamic is different on each pitch. It takes a lot of work to counteract this, by inserting a new dynamic mark on practically every note! That demisemiquaver (effectively a grace-note) on the flute in Bar 64 is audible on solo; but in the mix it's being somewhat drowned out. If I accent it, the note becomes too loud and squeaky: so there's not much I can do. I think it'll be ok with a real musician; though it's right at the top of the range: so could be challenging to reach. As for fermatas, my composition tutor doesn't like them: so he's instructed me to change time signatures instead. I often find myself drifting away from the opening time signature whilst I'm writing. It seems to be a natural trait of mine. It's just the way I hear/feel the music.

Here's my latest version of this work. The linking passage at rehearsal mark B is a bit rubbish; but I think the rest is coming together ok? Still need to extend the piece more; but not sure where to do this?

Hi Tunndy, I agree you whipped the donkey of the AI! (Edit: The system won't let me use the other word for donkey; but I'm sure you can guess what I meant to write!) Not sure artificial intelligence will ever be able to understand what music really is. (Hope I'm right, otherwise we could all be out of a job soon!)

Don't think I would've attempted to orchestrate (or-castrate) this sonata; but looks like you had fun with it! I'd love to hear this with the piano part muted.

Haven't heard your previous two canons; but I like this one! My only suggestion would be to add some slurs and dynamics to your instrumental parts, as currently there are none.

Scotland actually, and it's Nessie! 🤪😂

I listened to the opening movement, and loved it! It's sparse and haunting, then shifts halfway through to become mysterious and tense, like a Film Noir. Congrats on completing this major work. Will try to listen to the other movements when I have time.

Nice work! Just have one notational point. The staff for the soloists part in a concerto, should always be positioned directly above the 1st violins (see attached image).

Have now listened to Steven Stucky's arrangement of this work from 1991, and was pleased to discover it's very different from mine! He uses less woodwind, and more brass, with a far more radical reimagining of the original material (especially towards the end). Also interesting use of tubular bells that totally caught me by surprise! It's a far more accomplished piece of orchestral writing; but I feel like mine is more faithful to the original intention of the work. Anyway I'll let you be the judge.

Hi to all. Just wanted to post an orchestration I've attempted of Purcell's "Funeral Sentences". Correct me if I'm wrong, but I think this was originally written for SATB choir, with timpani and a quartet of trumpets. Here I've arranged the piece for full symphony orchestra. Not sure if it's been orchestrated like this before, but haven't heard any other versions in this instrumentation. I used an old midi file as the basis for my score: so some of the trills and drum rolls look a bit strange. Think they sound more realistic like this though: so it may not be such a bad thing. Haven't bothered with slurs, as the score is designed for midi rendition only. (Also have noticed I need to correct my spelling of D major chords.) Hope you enjoy!

Hi all. Here's the latest version of this work. Let me know if you think it's going in the right direction? I've made it more harmonically adventurous I think. Just wonder whether my chord progressions work; or if they're a bit too silly? I was trying to use secondary dominants and secondary sub-dominants. The 1st movement probably needs some massaging to make the transitions work better. The 2nd movement is probably incomplete, unless I decide to leave it with its current ambiguous conclusion. The opening of the 3rd movement was constructed by applying negative harmony to the 1st movement. The piano chords will eventually be shared amongst the woodwind, brass and available strings. What I'm aiming for, is a modern take on Vivaldi that's not pastiche. Something a bit like "The Capriol Suite" perhaps.