Romance in D Major for violin and piano

As a violinist, I've always felt today's musical landscape is missing something with the general absence of any modern violinist-composers along the lines of Paganini, Wieniawski, Sarasate, and so on to contribute new and exciting pieces to the repertoire. But since I'm both a violinist and a composer, I figure I might as well throw my hat in the ring and try to fix that. I've written four pieces by now, though I'd only ever performed two -- until recently, when I got to premiere the third.

I composed this piece back in 2020, shortly before the entire world shut down. But recently I finally found a good opportunity to perform it, so I gave the "world premiere" on November 9, 2022. Unfortunately it was not recorded except on a phone at the back of the hall, and the massive echo made it sound pretty muddy. So I got a recording session in today in order to get higher-quality audio. Here's the end result: https://www.youtube.com/watch?v=WghXNdOc-VY

The indication "harm." in the part is not me being too lazy to make diamond noteheads -- it is the notation used by violinist Roman Kim (one of my biggest inspirations and another torch-bearer of modern violin composition) to indicate the use of the forced harmonics technique he invented. It sounds one octave higher than written, is fingered exactly as written, and always lasts until the following "ord." mark. They appear at timestamps 2:15 and 3:56. While exceptionally challenging to master, they unlock some sounds that would otherwise be impossible to produce, so I think it would be interesting if the technique could become more widely learnt and incorporated into more modern violin writing.

The simple melody is well suited to being treated to the virtuosic variations that you employ.  It took intimate knowledge of your instrument to compose something that is this challenging and yet still possible to play.  I do feel like sometimes the part goes so ridiculously high that it's difficult to hear any particular pitch apart from the others.  And your liberal use of chromaticism in that range makes the pitch that much more indeterminate.  Thanks for sharing and congrats on the recording!

Wow, what an impressive performance! Although not a style I usually prefer, your playing made me love this. Interesting what a live performance can do, eh? Thanks for sharing the harmonics technique, I learned something new. Well done, the recording is fantastic!

._. God damn fantastic!

My sincere congratulations, would you mind if I share this video?

It's really impressive, both your interpretation and the pianist's and how they blend really good. Dynamics, articulation and technique, everything outstanding, even that note at M73...

BTW, on a side note, I don't know if it's just on my end but your violin sometimes sounds like...A flute?

A solid, very beautiful piece interpreted by his author marvellously, what else can one ask for listening here? Again, congratulations.

Kind regards,
Daniel–Ømicrón.

3 hours ago, Omicronrg9 said:

._. God damn fantastic!

My sincere congratulations, would you mind if I share this video?

It's really impressive, both your interpretation and the pianist's and how they blend really good. Dynamics, articulation and technique, everything outstanding, even that note at M73...

BTW, on a side note, I don't know if it's just on my end but your violin sometimes sounds like...A flute?

A solid, very beautiful piece interpreted by his author marvellously, what else can one ask for listening here? Again, congratulations.

Kind regards,
Daniel–Ømicrón.

Of course I don't mind, it's public after all!

The flute-like sound I imagine you are referring to is almost certainly from the forced harmonics. While regular artificial harmonics would sound relatively similar (hence their alternate name, "flageolet tones"), I find that the forced harmonics are a bit softer and less piercing, and they also allow me to access lower pitches and enjoy more agility in passagework.

The technique is still incredibly rare; myself and Roman Kim (its inventor in the first place) are probably the only two composers routinely using it, though I would be delighted to hear of others. Very few violinists are capable of executing it successfully.

As others have said, this is of course very very good. I do like this 'forced harmonic' technique, not something I can say I've heard before. I wonder if acoustically it is akin to the wonderful variety of squeaks and screeches that beginner violinists make? Could be a lovely addition to the palette of tone colours, but it is a very weak sound and would need careful balancing - I think the piano is overshadowing it in the Molto meno e delicatissimo section, being in the same register and having a much more sonorous tone and 'busy' writing. IF I was to suggest a change, it would be to take the piano RH up the octave from Bar 73.

I think the most effective parts of the first section are where you break away from the fairly square accompaniment pattern which is boxing you in a bit harmonically - Bar 19-21 etc, where the piano is carrying a left hand melody in counterpoint with the violin, is a great passage.

Very well done, and glad you got chance to record it properly!

11 hours ago, Sean Brown said:

Of course I don't mind, it's public after all!

I always ask regardless of that just in case someone just doesn't want that, so thanks! I shared it via my empty twitter.
 

11 hours ago, Sean Brown said:

The technique is still incredibly rare

Indeed, I have never heard (as far as I remember at least) such sound coming from the violin. How does one notate it, is there any guide or any restriction a composer should be aware of?

Kind regards!

4 hours ago, Omicronrg9 said:

Indeed, I have never heard (as far as I remember at least) such sound coming from the violin. How does one notate it, is there any guide or any restriction a composer should be aware of?

It's notated as it's physically played, one octave below the sounding pitch. Usually indicated with "harmonics" or "harm." and terminated by "ord." or "naturale" or something like that. I'm just using Roman's convention.

I made a video on it for violinists, but not really one for composers specifically, though it's a very agile technique without many unexpected limitations in the hands of a skilled player. Unlike standard harmonics, the notes can be played extremely fast, with vibrato, in scales, trills, and so on.

They tend not to speak well above the middle of the string (so you get about an octave's worth of useful range on each string), but it's not a hard ceiling. In fact I break this ceiling slightly in the Romance myself; in m.85 there is a single pitch that must be fingered a minor ninth above the open A. The pitches in harmonics that would be associated with the open strings must be achieved on the string below, obviously. Of course there is no string below the G string, so getting the harmonic at the pitch G4 (392Hz, one octave above the open G), requires the use of the usual natural harmonic at the second partial instead of a forced harmonic, which may make some passagework a bit awkward in some cases.

Sean---

  You are an  excellent  violinist!  If you could give us a bit of your musical training background?

               The piece was dazzling with the  muscial pyrothechnics.

                     My only quibble might be with classifying it as a "romance".    I woud conisder this a Concert Piece/showpiece/capriccio  more than a romance.  Of course my exposure is limited to the 19th c. in the main--with Ludwig Von's 2 romances as my benchmark standard.

   Audiences may like to have a heads up as to what they are in for!  I certainly do.

  Regardless--- a fine piece and congrats!

2 hours ago, Rich said:

Sean---

  You are an  excellent  violinist!  If you could give us a bit of your musical training background?

               The piece was dazzling with the  muscial pyrothechnics.

                     My only quibble might be with classifying it as a "romance".    I woud conisder this a Concert Piece/showpiece/capriccio  more than a romance.  Of course my exposure is limited to the 19th c. in the main--with Ludwig Von's 2 romances as my benchmark standard.

   Audiences may like to have a heads up as to what they are in for!  I certainly do.

  Regardless--- a fine piece and congrats!

 

I was a Suzuki kid, but I never had any extraordinary training. I had private lessons in violin and composition from ages 3 and 7 respectively. I am now a music minor in university.

I began to seriously work on improving my level of playing around age 14, mostly on my own initiative after completing most of Suzuki Book 8. My subsequent gains in what you might consider "virtuoso technique" (i.e. showpiece level and up) are mostly self-taught, though I did have guidance from my teachers. I discovered Roman Kim around this time and he became a major inspiration for me to push my limits. I wrote my first showpiece for my own performance at 18. It was pure Paganini pastiche, but I still like it.

The justification for calling this very much virtuoso piece a Romance may make a little more sense in the context of the Roman Kim Romances. They are effectively showpieces as well. I also consider models like Wagner (arr. Wilhelmj) and Amy Beach, both of which I've performed.

Wow.  

   I took lessons for almost 8 years in my mid-40s.   (Or my 40s!).   I finished Suzuki--book 10--was working on Pleyel and LeClair duets with my teacher (opus 24 and 3, respectivley if I remember correctly), and eyeballing working on Bruch's  g minor.  I made great progress over those years but the time commitment ( i was putting in 4 or 5, 1.5 hour practice sessions + 1 hr lessons weekly)-at that age-- broke me.  True mastery- i concluded--was for the young, or the retired.

  You've put in large amounts of practice time, my ears tell me.  You also have an iron will.

          Congrats on your composition and muscial achievements.