AaronHill

Thank you. I'm rewriting the opera as we speak. It's turning out alright... for contemporary, that is. So none of this score is any longer relivant.

I'm sorry, I said that I was already irritated about what she said and I don't normally type like this. I'm usually very receptive, it's just I've not been having the best of luck lately. For that I apologize. You're comments make more sense to me than what my friend keeps telling me. If you'd like to tell my why you'd agree with her, though, I'd like to know. (Just remember, I like to debate by nature, so this is nothing against you.) Although I am sort of insulted by your comments there toward the end of your message. We're supposed to be here to encourage each other and aid in eachother's musical growth and to wish me the worst of luck my saying that you hope I never get performed is an insult of the highest authority in my opinion.

Sorry for my irritability. I'm not at my happiest at the moment, finding out this late that nothing I'm doing is right.

Thank you for your constant bashing of my piece, I respect that you've taken this amount of time finding mistakes and faults in my work. I also applaud your tenacity, because it's obvious you just want to see me change the whole thing. Well, I've got some news, one of my other friends says that it isn't going to have a good chanced at being performed because it's not a "contemporary" style. So you two have a lot in common. You both think I should redo the score. What are your thoughts on this? She claims that the modern audiance won't be receptive to it because it doesn't echo the noisy, unformed, and sloppy ways of contemporary classical music. So, what do you think. I bet I already know what it is, but might as well ask.

Thank you for clearing up your meaning of 'orchestration being poor." True, the first scene, as I've said previously, needs work. Although I don't think a total overhaul of the score is in need. It definitly has promise, from other critiques I've recieved on it, of being a wonderful scene, but a couple of alterations may do it good. I think I might have been confusing a prelude with an overture. I thought that they were both the same. Sorry for the inconvieniance. For that, I'm sorry to have snapped at you. Might you tell me what you mean exactly by 'adequate use of a full orchestra". It seems that if you use the instruments and there's notes on the paper that should be 'adequate use'. Or is there some magical formula to which I have to use to make 'adequate use' of it? Also, I don't see the need to modulate constantly, it's a major headach on the composer, the conductor, and the musician/vocalist if you're changing key every five bars. (Not literally, of course.) If it works in the key it's set in, why change it? Furthermore, if I do modulate more than I already have then the sound that I had intended for will be lost... and that will ruin the work, in my opinion. And further more, I still don't see the point in writing for small ensembles if it doesn't give you the same experience as writing for full orchestra. It just isn't the same. Also, I'd like to say, I'm sorry if I'm sounding rude or just down right unresponsive to your opinions. It was never my intention at all.

And it's not a choir, those are the individual characters... or didn't you notice?

Also, Wolfgang, the scoring is basically a standard orchestra. How is it poor if I'm using all of the instruments required for an orchestra?

Okay, Wolfgang, first off, the Contertenor is used because... well, I thought it would fit the character. Secondly the bass comes in so late because that's where he comes in in the scene. I can't very well add him in earlier if that's not where he enters. Also, not all overtures are quite so strict. Listen to Wagner's overture to Das Rhiengold. It's consistent and builds up. The rules of music have changed a lot, and not so strict when it comes to form. My overture introduces the opera and opens the scene, exactly as it's supposed to, and thus fits its purpose The reason I use the full orchestra here is because I didn't want to overpower such a simple prologue. Thus I made it for ensemble. I've already written enough ensembles already, so how am I to gain experience for orchestra without trying it. Just a thought. I'm not trying to sound rude or unreceptive. I take your criticism to heart and your praises as well, but I feel that I must point this things out.

Thank you for your response I really just wrote it as a simple tune and had no intention on making it a big piece, just a short ensemble piece. Nothing grand or technically major. Just a song. It's purpose really is just to explain the first scene. I appreciate your advice but before I go and turn the prologue into a concerto or a symphony I just wanted to point that out. It's very nice constructive criticism, though.

Thank you. I know that for this one I deffinitly could do some work on it. I'm right in the middle of the second scene right now. Maybe I'll back and edit it later. Might you tell me a place where that occures though, so I have a better understanding where that is?

In this scene, the Sprits of the Elements (Eva, Thelma, Seastro, and Brun) are playing and mock the gods while they are away. The gods arrive and then they leave. This scene was sort of planned as just a lighthearted scene and doesn't have anything to do with the plot other than introducing the crucial characters of the Spirits of the Elements, who will play a huge part in the trilogy I'm planning on making with this opera.Fruna's Curse: Overture and First Scene (2)Fruna's Curse: Overture and First Scene (2) Fruna's Curse: Prelude and First Scene (2)

This is the Prologue to my opera-in-progress, Fruna's Curse (the first of a trilogy I hope to write). It's basically describing what's going to happen in the first scene. In it you have the spirit of song, Melodia, with her magic harp telling you that the tale starts with the Spirits of Elements playing and mocking the gods. Tell me what you all thinkFruna's Curse: The Prologue (1) Fruna's Curse: The Prologue (1)