# Dolce e Cantabile for orchestra



## AndreasvanHaren

Hi again!
After a long time I finally finished a new orchestral piece. It is based on the 2nd movement of my first piano sonata, which I wrote and dedicated 2 years ago for my daughter. Now, because she is turning 25 in April, I decided to give her an orchestration of the whole sonata. She is a musician herself so I know she will appreciate it!

https://www.box.net/shared/eztg3zefnh

Comments are always welcome.

André


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## ricardo_jvc6

Suprising! Its great indeed. I say, she will be happy when she finds out, the music is good, great melody. The dynamics look great.


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## Sanctus Petrus

Solid.
Healthy romantism.
Ugly sound-patches, but when you see ('hear') through them, I can hear a well orchestrated piece.


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## AndreasvanHaren

Ugly sound patches? Which one exactly? I put a lot of time in making this recording.


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## Rasa

As a whole it sounds rather unnatural, but I'd say it's mostly the strings.


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## AndreasvanHaren

What kind of software are you using for your bounces? I like to compare things to see if I can get it better.


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## Sanctus Petrus

When I try to imitate classical instruments with a synth it is usually as bad as your result and often worse, so do not consider it as criticism. At this moment it is not yet possible to emulate the real thing.
But do not worry, because I recognize what you mean to let us hear, and that is some nice, solid written piec of music.


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## Igneous01

Sanctus Petrus said:


> When I try to imitate classical instruments with a synth it is usually as bad as your result and often worse, so do not consider it as criticism. At this moment it is not yet possible to emulate the real thing.
> But do not worry, because I recognize what you mean to let us hear, and that is some nice, solid written piec of music.


well if the money is existent you could try going for east west samplers, like symphonic orchestra or vienna instruments. tho they are very pricey indeed. and extremely hard drive heavy (100gb worth of samples)

i only wish i could get my hands on vienna instruments, but thats beyond me.


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## chillowack

To me, it only really started sounding "fake" around the middle. Up until that point, this piece evinced André's usual skill at coaxing surprisingly realistic sounds from the limited technology which most of us are "stuck" with at this point in composition software history.

I say "most of us" because (as Igneous01 noted) if you happen to be wealthy you can afford the very highest-end software, which has now reached a point of astonishing realism. This is what I would invest in, had I the means.

As for the piece itself: I liked it very much. It wasn't my favorite of your compositions, but that's partly because some of your other pieces are quite superb.

One thing I really appreciate about your compositions, André, is that they are *patient*: you have the ability to allow your music to build gradually over time, and sort of "sculpt" it sonically, with a patient touch, transforming it by increments: a characteristic of great masters (Beethoven, for instance).


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## AndreasvanHaren

Hi, chillowack

thanks for the comments. Yes, it's not that easy to get a good recording with software. It takes weeks of editing after playing them first on the keyboard. I use the cheapest virtual instruments that I can afford: Garritan Personal Orchestra. It's the only one that runs on my PowerPc Mac. And I love your comment about the Beethoven comparison who I really admire. maybe his way of developing music went into my own style.

André


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## chillowack

Hi André,

I'm sure that is the case: if you really admire Beethoven (and listen to him a lot), his stylistic influence is bound to "rub off" on your own work.

I, too, admire Beethoven, more and more as I listen to his symphonic and orchestral works (in fact I think he is on the verge of displacing my beloved Mozart as my favorite composer). I think for my next composition, I will focus on practicing the slow, patient "building" I hear in Ludwig's work, and in yours.

Would that so many long leagues, and the "sundering seas," lay not between us, my friend: for I would love to look over your shoulder one day, during your editing process, and learn some of the techniques you have devised for making your virtual instruments sound so real. But perhaps I can learn them by my own discovery.


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