Alex Weidmann

Seasons greetings one and all! Just wanted to share this little experiment I tried this week, where I deconstructed Mozart's Requiem, then used little fragments to try and fashion a new piece. Later I decided to quote part of Mozart's work at the end: so it ended up a bit like a theme and variations in reverse. Not sure I'm done with it yet; though it may be finished? Including part of the original work probably just serves to show how weak my choral writing and voice leading is compared to Mozart's! I've a feeling it's a complete failure; but was fun to try. Anyway let me know your thoughts, if you have time.

Very nice production! I wonder, is this song based on a Celtic legend?

Not in any great detail no. I do have a score somewhere that shows which passages were completed by Süssmayr. I always feel this is the most contrapuntal of Mozart's major works (not unlike his "Little Fugue"). Seems to me that Handel was a major influence. Some passages from his "Messiah" sound very similar to the Mozart/Süssmayr Requiem. I don't know any of Michael Haydn's works; but I'm sure you're right, and will take a listen.

By sheer coincidence, I just went to a performance of Mozart's Requiem tonight!

Thanks Vince! Heres the programme note I wrote for the concert: My journey into composition began in 2022, guided by a lifelong admiration for Bach and the intricate elegance of the Baroque era. That gravitational pull toward counterpoint and ornamentation shaped the earliest incarnation of this piece: a three-movement work blending electronic synths with orchestral textures, piano, harpsichord, and SATB choir. It was a fusion of old and new, structure and shimmer. Since then, the piece has evolved through several arrangements, each a recalibration of its emotional and sonic architecture. This latest version distills the work into two movements for solo harpsichord, shedding layers while introducing new material that reframes its core motifs. The intention is simple yet vivid: to evoke the image of a sun-dappled forest, where light filters through leaves in shifting patterns, and time feels suspended in golden stillness. I hope the music invites you into that space. N.B. I gave the third movement to the harpsichordist; but she told me it was unplayable: so it wasn't performed. I'm very happy with her interpretation of the other two movements. She played them slower than the tempo I'd imagined; but I think it suited the music very well.

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! 🤪😂