Emma Overture, Op. 31

I first uploaded this work in mid-2012, and still rank it among my finest achievements in orchestral writing. I recall to have gotten above 58 comments on it if I'm not mistaken - but since the uploading system has been reverted to what it was long before I joined YC, I decided I would give it another try. As older members might recall, this is of course a Romantic-minded piece based on Jane Austen's novel Emma.

Any feedback would be highly welcome. Thanks in advance!

BTW, it seems the upload process takes pretty long, at least for the sound files. But at least it's running rather smoothly.

Emma Overture, Op. 31.pdf

Emma Overture, Op. 31.mp3

I wish this piece existed in live performance, I just hate midi more and more... 

1 hour ago, Sojar Voglar said:

I wish this piece existed in live performance, I just hate midi more and more... 

Likewise. So far I haven't been able to arrange anything close to a live performance, but I wish for it as strongly as you do. No matter how hard you try to make Garritan or any VST feel "realistic", there's just no substitution for a live orchestra.

This piece is just great! Wonderful melodies, and clearly orchestrated. 

Ps: I so agree with Sojar!

So far I can't but hope for a live performance. Granted, if I had only one shot at a premiere for my lifetime, I'd likely pick this work.

I admire the emotional range of this piece, from the brooding minor key sections to very fanciful and uplifting music. This would be very good for an animated feature because I can fairly see the characters on the screen, and this sort of thing always requires quick changes in mood which you convey in a very convincing and naturally musical way.

Btw, are you familiar with "The Snowman," an animated Christmas feature that was composed by a British composer, whose name I can't remember? 

13 hours ago, Ken320 said:

Btw, are you familiar with "The Snowman," an animated Christmas feature that was composed by a British composer, whose name I can't remember? 

Hmm... not really, regretably. But I'll surely look it up.

I really appreciate your comments on my work. When I was writing it, my toughest work was to bridge and blend the themes convincingly whilst keeping some musical relation to the story itself. I was somewhat surprised by the result - and by the reaction by the listeners as well, which eventually prompted me to value this piece among my best compositional achievements.

BTW, I have long wanted to do some kind of movie music, so I find it very motivating that you bringed up the animated feature. Thanks for your comments!

I must have missed this on the first pass as I would have definitely remembered such a memorable work.  A lovely piece!

It's quite possible you missed it, but I'm delighted that you didn't overlook it this time. Thanks for your comment!

On 5/13/2016 at 10:30 PM, Ken320 said:

I admire the emotional range of this piece, from the brooding minor key sections to very fanciful and uplifting music. This would be very good for an animated feature because I can fairly see the characters on the screen, and this sort of thing always requires quick changes in mood which you convey in a very convincing and naturally musical way.

Btw, are you familiar with "The Snowman," an animated Christmas feature that was composed by a British composer, whose name I can't remember? 

Isn't it like... something Blake? Who did The Snowman?

@Austenite this is one of the stronger works I've heard so far from you, IMO. Very very nice!

56 minutes ago, JairCrawford said:

... this is one of the stronger works I've heard so far from you, IMO. Very very nice!

Thanks a lot for your appreciative words! I rarely have such a high opinion of my own works without some dose of second-guessing myself, but fortunately I'm pretty much convinced that Emma is among my best orchestral pieces up to date. Hopefully I'll someday be able to outdo myself ...

Totally enjoyable!  The melody is a great vehicle for the orchestration and development you created.  I'm not familiar with "Emma", but the piece had a story telling feel to it.

The ending definately had a Stravinsky feel to it. Was "The Fire bird" a major influence? 

On ‎27‎/‎05‎/‎2016 at 10:30 AM, tmarko said:

I'm not familiar with "Emma", but the piece had a story telling feel to it.

 

Mission accomplished! One of my highest hopes upon writing this work was exactly that - for the music to be able to stand for itself whilst conveying some sort of musical narrative. I'm delighted to see that, at least on your opinion, it was achieved. Thanks for you comment!

23 hours ago, Kvothe said:

The ending definately had a Stravinsky feel to it. Was "The Fire bird" a major influence? 

 

Well, yes! In fact I was a bit surprised that no one had even mentioned it before. In the first draft I even had the coda going back to B major after the brief step up to C minor, just as Stravinsky's glorious ending - but then I decided (upon a suggestion by Tokkemon) to stay in C major and end it there, on account of B major being an exceptionally tough tonality for the brass section. The work, as a whole, shows influence from a variety of sources, but I couldn't pick a better fit for the ending than Firebird, which I listened several times before writing my own wrap-up. Thanks a lot for your comment!

one of my favorite pieces on YC!

Austine,

Tonally tough? Non sense. They can handle it.