The Wretched Holy 1st mvmt

Hi @Left Unexplained,

This one is holy moly great! The opening is so mysterious with the harmonic progression and the orchestral colour. I love the later string passage in 0:33 which opens up the movement! That Eb Aeolian is so well used here. The ending is so fxxxingly beautiful even though it ends suddenly! You never fail to impress us with your orchestral prowess, thx so much for sharing!

Henry

7 hours ago, Henry Ng Tsz Kiu said:

Hi @Left Unexplained,

This one is holy moly great! The opening is so mysterious with the harmonic progression and the orchestral colour. I love the later string passage in 0:33 which opens up the movement! That Eb Aeolian is so well used here. The ending is so fxxxingly beautiful even though it ends suddenly! You never fail to impress us with your orchestral prowess, thx so much for sharing!

Henry

 

thanks for the kind words Henry!!

At 0:34 it sounded like you were about to quote an old piece of yours I forgot the name of.  I think pretty much everything that comes before that point is introductory and just setting the scene for the entrance of the main expository material.  It's kind of a haze of diffuse musical ideas that serves as a soft blanket of sound that makes the entrance of the melody more dramatic through its restraint.  And as the main melody progresses after 0:34 it gradually becomes more and more diffuse dissolving at the end (if only you let the last chord resonate instead cutting it off!).  Thanks for sharing this.  It seems that even though you use the whole orchestra you effectively score it at a reduced dynamic level throughout keeping the forces in reserve, restraint.  Great job!

15 hours ago, PeterthePapercomPoser said:

At 0:34 it sounded like you were about to quote an old piece of yours I forgot the name of.  I think pretty much everything that comes before that point is introductory and just setting the scene for the entrance of the main expository material.  It's kind of a haze of diffuse musical ideas that serves as a soft blanket of sound that makes the entrance of the melody more dramatic through its restraint.  And as the main melody progresses after 0:34 it gradually becomes more and more diffuse dissolving at the end (if only you let the last chord resonate instead cutting it off!).  Thanks for sharing this.  It seems that even though you use the whole orchestra you effectively score it at a reduced dynamic level throughout keeping the forces in reserve, restraint.  Great job!

tysm Peter. Its nice to know there is a method to my madness from someone elses perspective haha! 

Dang man, I didn't want this to end

'tis awesome

Score?