Divertimento for String Ensemble, Op. 19 - II. Disposition

This as an experiment into complex forms:

Being based on the Five Classical Canons of Rhetoric, the second of this set is disposition. This piece is designed to outline the thought process by first taking raw information (pizzicato entrance), organizing it into a series of fugues (each being progressively more resemblant to the theme running through the set, the "thesis" theme), until the material is combined to create a satisfactory product (having resolved all issues of synthesis, then the end section) to be used in the overall metaphorical "oration" (i.e. the intent of rhetoric).

I have more detailed an explanation attached, as well.

Quite nice coutnerpoint with interesting timbra effects. I like the development of the piece.

On 3/13/2019 at 3:03 PM, Luis Hernández said:

Quite nice coutnerpoint with interesting timbra effects. I like the development of the piece.

 

Thanks very much, Luis! It began as a bit of an experiment -- just to see what I could do with the material -- and ultimately I am proud of the end result.

Interesting.  I'd be curious to hear what sort of extra emotional warmth some more rubato in the earlier sections could bring, but maybe that would be cross your purposes for the exercise.  It all works very nicely as an organic growing being.  

11 hours ago, pateceramics said:

Interesting.  I'd be curious to hear what sort of extra emotional warmth some more rubato in the earlier sections could bring, but maybe that would be cross your purposes for the exercise.  It all works very nicely as an organic growing being.  

 

Interesting point; it'd have to be left to the imagination in any matter, given the virtual performers. Though, in practice, I actively seek that sort of input from performers. Thanks!

I want to first say "bravo" to this piece.  With that being said, I shall give my critical analysis.

1) Typesetting: Your score is BEAUTIFUL.   Generally, style and bowings are italicized i.e arco and pizz.  It does seem a little weird not seeing that way.  Reference: look at the scores of Beethoven and  Mozart.   It's ALWAYS that way.

2)Measure 15.  Hmmm, I wonder what would happen if you had the violas play the D3 and B3; instead of the divisi in the 1st Violins, you have the 1st play the high octave and the 2nds play the lower octave.

3)Measure 69 - 90:  I STRONGLY disagree with that orchestration.  There's no reason for the 2nds to play higher than the 1st,.   That divisi in the violas is going to get lost.  I know you want that C3 to pop but it may be better to have that in the violoncellos.  Then have the whole viola section play that.  You are going to have balance issues with a live orchestra with that.  Reference: Daphnis et Chloe.  

4) measure 91) Violins like fifths better fourths.  I get WHY you wrote it that way.  It MAY be better to split that like this: violin 1 (Bb3 and F4) and violin 2 (Ab3 & Eb4).

5) Your sound space is gorgeous. It's obvious you have a command over the textures and melodic density.  It seems though that the textures can be expanded more.  If rhetoric is defined as "the art of effective or persuasive speaking or writing, esp. the use of figures of speech and other compositional techniques,"  then I believe these melodic statements are under-developed.  Measure 29 comes to soon.  This opening fugue-like material at the beginning can be developed probably another 2 minutes.  It's so tight melodically, Meas. 29 is too abrupt.  Honestly I feel this way about a lot of sections in hear.  This piece if developed more could be a 15 minute epic!

My $0.02

8 hours ago, maestrowick said:

I want to first say "bravo" to this piece.  With that being said, I shall give my critical analysis.

 

1) Typesetting: Your score is BEAUTIFUL.   Generally, style and bowings are italicized i.e arco and pizz.  It does seem a little weird not seeing that way.  Reference: look at the scores of Beethoven and  Mozart.   It's ALWAYS that way.

2)Measure 15.  Hmmm, I wonder what would happen if you had the violas play the D3 and B3; instead of the divisi in the 1st Violins, you have the 1st play the high octave and the 2nds play the lower octave.

3)Measure 69 - 90:  I STRONGLY disagree with that orchestration.  There's no reason for the 2nds to play higher than the 1st,.   That divisi in the violas is going to get lost.  I know you want that C3 to pop but it may be better to have that in the violoncellos.  Then have the whole viola section play that.  You are going to have balance issues with a live orchestra with that.  Reference: Daphnis et Chloe.  

4) measure 91) Violins like fifths better fourths.  I get WHY you wrote it that way.  It MAY be better to split that like this: violin 1 (Bb3 and F4) and violin 2 (Ab3 & Eb4).

5) Your sound space is gorgeous. It's obvious you have a command over the textures and melodic density.  It seems though that the textures can be expanded more.  If rhetoric is defined as "the art of effective or persuasive speaking or writing, esp. the use of figures of speech and other compositional techniques,"  then I believe these melodic statements are under-developed.  Measure 29 comes to soon.  This opening fugue-like material at the beginning can be developed probably another 2 minutes.  It's so tight melodically, Meas. 29 is too abrupt.  Honestly I feel this way about a lot of sections in hear.  This piece if developed more could be a 15 minute epic!

 

My $0.02

 

 

 

Thank you for the in-depth analysis; you have given me a lot to think about. I appreciate that!