Krisp

I also take advantage of this writing break to work on visual projects: photos, videos or drawings for order-made illustrations. This activity also takes me a lot of time, Forces me to meet certain deadlines, and I'm already late... We all have overflowing lives!

Thank you Henry for your attentive listening! It is always appreciable to be heard by so many connoisseurs on this forum and your opinion is a treasure for me! I'm a little paused for the composition because I'm leaving a Verdi production (it's my job as a chorister) and I was a lot on the road and on the move. It will take me a little time to recharge my envy batteries. I don't know if it's identical with you... I sometimes have the impression that the composition phases put my reserves a little flat so I need a break. I will have to find other ideas during the fall. But just talking about it here already makes me want to go back in front of my music paper!

Oh, my mistake. It seems that the "chouette hulotte" is still said differently in English (I don't know either...) The mystery remains!

Hello ! Thank you For this surprisingly attentive reading ! So at 0.43 we have firstly the solo trumpet of the staccato orchestra on C# F# C# In triples Then immediately a response from the solo tenor trombone on C F C In triples too, and the last answer of the motif comes to the cor solo staccato on F# B F#. At the bass the double bass in fifth. Ostinatis in violins 2 altern 1 (Parallel thirds) And flutes too... The "motifs" that you have well identified serve me as building materials. The first this kind of call in the fourth, then the second pattern based on a game of minor third descending and then ascending to the half-tone, various mutations, actually leads to 4:56, but it would be tedious to list all this. (The wolf-owl bravo! It was the little night wink... Haha.. I wasn't sure if anyone heard it)... (In French it's "chouette hulotte" but I prefer the name you give it and that I didn't know)

Bravo! Indeed, this is indeed the case, and moreover this passage that you mention precisely gives the name to my play "the astral tide"... (hantise at 2:52) and it is also about a similar coda in « l’hiver qui vient », for voice and orchestra, composed when i was Young… So I drew on all this without imagining that someone would have the insight to notice it... Congratulations again for your very good musical memory! Thank you in any case for your listening and this enlightened comment!

Hello, Very beautiful music bravissimo. And what a pleasure to hear these singers, They sing exceptionally well. This second version is very successful at the prosody level (and the interpretation even more controlled vocally, and musically. "rejoindre" the DRE is to be placed in the prosody otherwise we have an inelegant contraction. French is not known a priori for its strong tonic accents, but they are present and sometimes surprising, they can give the expressive intention (And often dependent on the meaning we want to put in the sentence we pronounce). But overall here, it's quite well done, so congratulations. We can perfectly understand the text (version 2) in having to read it, which is an excellent thing. Only a few colors of vowels drift slightly but we are used to closing our eyes to these little things... I believe that as such, for example, the French forgive foreign singers singing French much more than they reciprocate! But you know, despite these few observations, I am conquered by such a beautiful piece so well sung! It's beautiful.

Indeed, I listened to your play with interest and pleasure. The ideas are varied and numerous. They are well condensed in a few minutes, which gives a large expressive picture that can be listened to and read very well. I am unfortunately less convinced by the rendering of the samples, but I know that this is not your goal. We can do much better provided we go to a specific midi programming job that cannot be done in a score scorer. Bravo in any case.

Hello dear young composers. Here is my new trinket, composed for orchestra and solo trumpet. Samples, of course, (unfortunately)... I hope you like it!

Hello, thank you for throwing your expert ear on my little scarecrow. I can understand your opinion. The texture is indeed continuous, and the choice of having two blade instruments that complement and take turns is a way for me to build the accompaniment of this unique protagonist who is the bass clarinet. (Marimba and vibraphone, with occasional intervention of a glockenspiel). The rest of the set (requiring a third percussionist includes: crowtles, tam, tubular bells, triangle, cymbals, woodblocks, snare drum. and there is no other skin instrument such as drums, bass drums, or timpani. It is also a choice. My old age sometimes makes me make decisions that young people don't like ;)))

Hello A new miniature, for bass clarinet and percussion ensemble. This is the third piece in a small series of scarecrow portraits.

Thank you for this comment that touches me a lot!

Hello Peter, Thank you for listening and this comment. The orchestration is indeed a little oversized compared to the very simple purpose of this dialogue. However, I wanted to try to stick as best as possible to the words of each protagonist, namely, the woman's love/mystical exaltation, her alibi, supported by stable tones, a certain clarity of instrumentation, the organ (to emphasize pseudo piety)... in response to the rise in tension of the husband's increasingly pressing and inquisitorial questions, with an instrumentation evoking military instruments (since he thinks he has seen an officer...). The harmonic context then becomes very unstable, dissonant, with an increasingly chaotic singing line.< In my mind, if the woman had the last word, I have the impression in any case that it went really wrong... ("bruler la cervelle", In the end, means "pull in the head" Which suggests that something irremediable may happen after the wife's ultimate answer)... (In any case, that's what I wanted to make you feel in this dialogue, which in my opinion is not trivial). It is not uncommon, in the German Lied or the French Melodie (or even the American or English "Song") to have male or female characters indifferently sung by the same "narrator" (and even sometimes animals (or even objects!)... This must be seen a bit like a declamation of poetry, more so than as an opera scene. That said, I would have loved to summon a colleague to register the wife"s Answers, and I know that it would have been a much more readable approach for the listener, which is a quite right observation on your part! In any case, a big thank you for these relevant observations.

Hello Henry, and a very big thank you. I had seen and appreciated your YT comment and I am all the more touched to read a more detailed comment here. It's a music that I wanted simpler than the previous one, a little like suspended from a wire, in a spirit of improvisation. The goal was to try to find the right image/music distance so as not to risk overflowing into each other and for everyone to participate in what I was looking for expression In any case, very happy that you like it.

Hello dear young composers. Here is a little music inspired by some photos, which I took in Rouen, a city in Normandy where I often work at the opera, in the choirs.Sometimes the books are demanding to memorise, where they require a lot of presence on the set, sometimes less and leave me free time, as is the case at the moment. I always take the opportunity to explore the lost corners, camera on my shoulder. So I wanted to put some musical notes on these views, with a theme related to decay, abandonment, which is something that interests me a lot in photography because I find it aesthetic. It is therefore close to a musical theme that I had called Scarescrow, even if here, we lean more into the melancholic side than into terror. Thank you for listening anyway!

Very very very impressive!