Divertimento

Been a bit since I've been on here and figured I'd check things out. I've been busy these days working, writing, and listening to some good music.

One of my latest passions has been exploring the music from the 1950s to 1970s (which, ironically, was right before I entered the world). To my surprise, there was some really good non-tonal music written in this period that was NOT serial!! Who would've thought!?! This discovery inspired me -particularly in exploring more with the woodwind quintet. Thus, I present my Divertimento for Woodwind Quintet! 

Some of my inspirations include the vast repertoire of Tomasi (whom I never knew existed) and -of course- the Bagatelles of Ligeti. 

The work does feature my typical usage of contrapuntal textures within the opening (which is a 5 part dissonant fugue). This evolves to become more interrupted with a falling motif that is, itself, derived from the fugal material. The second section is more textural in nature -an exploration of my love for hypnotic textures that feature a melodic line that is variated slightly. This section isn't minimal per se, but I do tend to sit a bit with it. The section ends with infusions of the fugal material in an attempt to play with the ideas of anticipation. Not sure if it's totally successful(?) Finally, the fugal material returns in a short, fiery closing to the piece.

Hope you enjoy!

The opening fugal section is so effective. I find it really hard to compose a dissonant, post-tonal fugue but it's really successful here with its playfulness. That entry of Bassoon in bar 44 is so funny. Seems like no other instruments want to join him (an old grandpa?)! All the materials, the slurring fifth/fourth, that repeated note figure in the countersubject are utilized completely in the fugue.

The middle section form bar 79 displays a great contrast with the first section. While the first section is contrapuntal and varied, the second one is quite minimalistic, but previous materials does not disappear at all. The falling motive is even more explicit starting from bar 142.

My personal favourite is the last section with a double-fugue like fugue, combining the appearance of the subject and countersubject from the first section together. The overall effect is so humorous! I used to hate post-tonal music, but this is one is great!!

5 minutes ago, Henry Ng said:

The opening fugal section is so effective. I find it really hard to compose a dissonant, post-tonal fugue but it's really successful here with its playfulness. That entry of Bassoon in bar 44 is so funny. Seems like no other instruments want to join him (an old grandpa?)! All the materials, the slurring fifth/fourth, that repeated note figure in the countersubject are utilized completely in the fugue.

The middle section form bar 79 displays a great contrast with the first section. While the first section is contrapuntal and varied, the second one is quite minimalistic, but previous materials does not disappear at all. The falling motive is even more explicit starting from bar 142.

My personal favourite is the last section with a double-fugue like fugue, combining the appearance of the subject and countersubject from the first section together. The overall effect is so humorous! I used to hate post-tonal music, but this is one is great!!

 

Thanks very much for your kind words here. I'm glad you got the whimsical nature of the piece -that was definitely something I was going for with this work. 

Fugue is one of my favorite techniques to utilize. As many composers from the past have stated... polyphonic textures are great arenas to explore. Not only does each line provide interest to listeners... but they can all be discern independently and in contrast within the texture. 

I also take a more nuanced look at post-tonal music myself. I love the sound of dissonance and I strive to make more accessible works while at the same time pushing my own personal use of more advanced harmonic languages and techniques. 

Just now, jawoodruff said:

Fugue is one of my favorite techniques to utilize. As many composers from the past have stated... polyphonic textures are great arenas to explore. Not only does each line provide interest to listeners... but they can all be discern independently and in contrast within the texture. 

It's really crucial to master the writing of counterpoint and fugue to be a good composer. If you can write good polyphonic music, that won't be too difficult to write other orchestral and chamber works, whether in polyphony or homophony. The independent voice of each instruments are so important in all genres. At the same it's hard to have contrast when the fugue subject is the same throughout the piece, and you have to utilize every bit of materials and motives to make it coherent and contrasting.

3 minutes ago, jawoodruff said:

I also take a more nuanced look at post-tonal music myself. I love the sound of dissonance and I strive to make more accessible works while at the same time pushing my own personal use of more advanced harmonic languages and techniques. 

Now I start to take care of it more, but still insufficient to write anything post-tonal. The display here is just amazing and attain the effect tonal music doesn't.

Hey man, good to see you around again. I'd have to dig through your profile, I can't remember your style from years ago, but it's always nice to see people from back in the day popping their head in once in a while. 

I don't usually listen to this dissonant of a style, but this captured my attention. I think it's your use of rhythmic and textural devices that keeps me engaged. The fugal A section was really interesting rhythmically, and I like how no one instrument stands out as the lead; they're all equally important. 

The B section was my favorite part, and what a great contrast. You had a wildly imaginative texture surrounded by strong melodic lines that I think worked really well. Very mature use of the ensemble, it sounded like you were a veteran at writing for winds. Even though you aren't, that's how it came across!

I will say that the A section's return felt a bit tacked on, and I think you could have made it a bit longer. Maybe that's just personal preference, but it did feel conclusive.

Score looks really nice, I was wondering about some of the enharmonics though. There were some spots where you have augmented 2nds, but maybe that's not that big of a deal? Dunno, I'm a noob 😛

All in all, wonderful piece you have here! I'll definitely come back for future listens, well done.

10 minutes ago, Thatguy v2.0 said:

I will say that the A section's return felt a bit tacked on, and I think you could have made it a bit longer. Maybe that's just personal preference, but it did feel conclusive.

Score looks really nice, I was wondering about some of the enharmonics though. There were some spots where you have augmented 2nds, but maybe that's not that big of a deal? Dunno, I'm a noob 😛

All in all, wonderful piece you have here! I'll definitely come back for future listens, well done.

 

I'm definitely planning on fixing the ending after a few days. I want to let it sit for some fresh air first -and hopefully get some woodwind/horn players to comment on the writing (hopefully, I kept it idiomatic for the instruments). I agree it is rather tacked on. I wanted a more paced return to the opening fugue -and hinted a bit at the end of the B section for this. 

As you know, this work has to be between 3 to 8 minutes long, so I have at least 3 mins and 11 minute time remaining that I can squeeze more out and work out a more smoother transition that doesn't seem quite tacked on. I'm also considering perhaps taking the rhythmic subito that occurs at the end of the A section and playing with that towards the end of the B section as a means to return back to the fugal material. I might try that and see if it works. 

Thanks for your kind words!