Orchestral Variations on Dies Irae

Probably the first full-fledged large orchestral project I've taken on. The initial inspiration for this was prompted by a discussion about variations on themes, and when Zulaski Kaitzo mentioned Dies Irae, the idea was born. These variations were also heavily inspired by the Variations on a Theme by Paganini by Boris Blacher. I began work in early October and finished in around a month, working pretty constantly without break, as I was very passionate about this and I seemed to be able to quickly come up with ideas for the next variations. When I had no more ideas, I knew it was time to stop and compose my final variation. In this piece, each variation carries a meaning behind it. While I did begin each variation as purely musical, they turned into different variations and conceptions of what happens after life and what happens in the moments before it. Each variation proposes a distinctly different idea of what death could entail, the meanings of which I won't explicitly reveal, leaving it open to your interpretations for now. The last variation is a musical representation of my personal outlook on the concept of permanent rest. These variations are somewhat divided into separate sections, marked by the toll of a bell. This piece starts and ends with the bell. This was written for a symphony orchestra, though most variations do not utilize the entire orchestra. Would love your opinions on it.

Hi @sned,

would you provide the mp3 for the composition? I feel like it’s real hard to imagine the sound with the big orchestra. 
 

I see that in b.8m you have the tremolo strings with staccato marking, which for me are contradictory!

Henry

4 hours ago, Henry Ng Tsz Kiu said:

Hi @sned,

would you provide the mp3 for the composition? I feel like it’s real hard to imagine the sound with the big orchestra. 
 

I see that in b.8m you have the tremolo strings with staccato marking, which for me are contradictory!

Henry

 

So sorry, I had forgotten to paste the YouTube video. I have edited the post to include the YouTube link.

I am not sure what you're referring to by 8m, but I think I understand. The staccato markings do not contradict the tremolo, as the staccato markings are in fact not to be played as staccato but as spiccato. That's how I chose to notate it without adding a bunch of sixteenth notes, because if I had seen that in a score as a string player, I would not be confused on how to play it. Hope that clears up any confusion.

I was able to listen up to J. (Will try to listen to the rest tomorrow. Just ran out of time this evening). 

An excellent work (so far). I didn't have trouble with the score although I just followed it through. Didn't look into it in detail. All in all, the variations seem pretty varied (at least, once we get to the Allegro at D).

I can sense hints of Boris Blacher although it doesn't sound too Blacher-y. I'm familiar with some of his work, fascinated by Studie im Pianissimo. Haven't encountered the Paganini Variations though I recall it was recorded by the Louisville SO**. 

Like I said, great work so far. Clarity in orchestration, broad dynamics, good rendering. 

** EDIT: I found this recording on youtube so I'll play it at bedtime!

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Really great rendition you've presented here!  I usually love variations pieces as I consider the variation technique to be at the core of my composing technique in general - even for pieces which I don't intend to be in a theme and variations form.  In fact - I'm working on a set of variations right now!

These variations are dreary, dark and dramatic!  You create a really effective mood here that is very appropriate to the meaning of the Dies Irae.  I think what halts the momentum of the piece for me is your reiteration of the theme with the tubular bells in between each variation.  Maybe instead of repeating the theme each time, you could just include the tolling of the bell (if you've attached a meaning to it as you say).  I know that whenever I write variations I have such a huge number of ideas that I am almost overwhelmed sometimes by them, so I cope with that by trying to be really concise with my presentation of the variations.  But you seem to take the opposite approach here, extending the piece for a really long duration that could have easily been clipped a bit.  I think you use the restatement of the theme as a way of transitioning between the variations but it's really redundant since the listener has heard the theme so many times by then, in many different forms.  I don't think the listener needs to be reminded of what the theme is each time and that's just kind of an unnecessary feature of the piece in my opinion.  That's my critique.

But besides that I really liked the piece!  My favorite part I think is the waltz since it's the most light-hearted and jolly variations and quite well written.  Also - kind of an unexpected feature of a variations piece meant to be about death!  I do wonder what this particular variation meant for you.

Nit-picky thing about the score - if you meant for there to be no key signature for the piece in general you should also remove the key signatures for the transposing instruments.  Those are my thoughts.  Thanks for sharing!