# Fantazja h-moll for string orchestra and stuff



## Aramis (Mar 1, 2009)

I think I'm beginning to make a little mess with all those various threads about the same composition in diffrent arrangements and with diffrent views for future

You must stand it though for some time since there is even greater mess in my thoughts and though it's hard to stand finally something magnificent must come out of it. Eventually you could ask the moderatos to ban me.

Right now the "stuff" is: solo wind instrument, diffrent for each of three planned movements and timpani.

I have arranged the so-far completed introduction for such crew and I find it very good.


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https://soundcloud.com/aramistm%2Fw-osy-mocarza

I don't think any major changes shall be done in this part from now on

Now I'm starting to prepare aria-like lyrical movement with clarinet or flute


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## GoneBaroque (Jun 16, 2011)

I like what you have done so far and look forward to the movement with clarinet or flute (perhaps both?). Feels like being present at the creation.

Rob


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## Aramis (Mar 1, 2009)

Just bumping up the thread. It will take few days before I'll have something of new movement to present so perhaps some more comments about the first one will appear. I've added tremolo in coda, btw, where the violins play the phrase twice and then horn repeats it with chordal cadence under it.


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## soundandfury (Jul 12, 2008)

The horn passage at 0:58 (I'm guessing in quavers) doesn't sound like it would be playable; at least, I've never met a horn player who could do that. The problem is that it's quite fast, with no gaps, and some large upward jumps. Fine for strings, but if you tried that on a horn you'd split notes, go out of tune, all sorts of nastiness.
Other than that, a nice piece, if a little energetic/aggressive for my tastes.


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## Aramis (Mar 1, 2009)

Thank you for the horn remark - I'll try to find out what can be done about it.


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## Aramis (Mar 1, 2009)

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https://soundcloud.com/aramistm%2Fwichry-burz

AND SO WITH SCHUBERTIAN SIMPLICITY AND SONGFULNESS I HAVE CLIMBED TO HIGHEST PEAKS OF LYRICISM

C major


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## Aramis (Mar 1, 2009)

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https://soundcloud.com/aramistm%2Fzaszmok

Moved the longer theme from the beginning, now it appears later and piece begins with the other one in which WITH SCHUBERTIAN SIMPLICITY AND SONGFULNESS I HAVE CLIMBED TO HIGHEST PEAKS OF LYRICISM

I'm very disappointed with you, Don Finale 2009, your crash cymbals can't even be heard and those two timpani notes closing the part in which WITH SCHUBERTIAN SIMPLICITY AND SONGFULNESS I HAVE CLIMBED TO HIGHEST PEAKS OF LYRICISM with this awesome DA-DAM! can barely be noticed too.


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## GoneBaroque (Jun 16, 2011)

Aramis said:


> Thank you for the horn remark - I'll try to find out what can be done about it.


Benjamin Britten composed a piece for solo guitar for Julian Bream. When Bream received the score he complained that Britten had him playing two notes on the same string at the same time. There was a hasty rewrite.

Rob


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## Aramis (Mar 1, 2009)

_You have done such a remarkable thing - in one passage leasting just above one minute you have belied theories of exhaustion of classical beauty, here embodied by C major. Since I have heard this passage full of natural musical beauty I can't get one question out of my mind - how is it possible that neither Mozart, Beethoven or Schubert ever found this descending phrase? It seems as natural as music itself. Move forward, my dear friend!_ ... Gustav Mahler

Edit: thank you for your uplifting remarks sir, you'll always find a humble admirer in my person but please create your own TC account instead of writting from mine


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## Aramis (Mar 1, 2009)

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https://soundcloud.com/aramistm%2Fmrokosz
 continiuation of first movement, I think I'll extend it from short adagio to longer adagio-allegro.


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