# The work in B minor



## Aramis

The same as always. But it's not going to be fantasy anymore. And not for string orchestra with stuff but for full, Beethovenian orchestra (instrumentation as in Coriolan overture).

Here is new thing, a seed of middle part (B from ABA):


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https://soundcloud.com/aramistm%2Ften-co-rusza-z-flaga-napszut-z


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## Klavierspieler

Very nice! What does "Ten co rusza etc." mean?


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## Aramis

"he, who moves forward with banner with long hair", but it's absolutely irrelevant to the piece, I usually just paste anything as names for my soundclous files (this time it was from discussion about which portrait of Emperor Bonaparte is greatest).

I'm glad you find it nice.


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## Kopachris

Hmm... Google Translate said: "This starts with a flag which napszut with long hair." I guess Google doesn't get Polish.

I think the piece sounds vaguely Russian.


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## Aramis

> I think the piece sounds vaguely Russian.


I think it doesn't, honestly.

Deleted the second theme (I'll leave it to the very end) and created some developement:


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


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## Sid James

Interesting piece, sounded to have a bit of a "Russian" flavour to me as well, but I guess that to a Polish guy that's a bit insulting? (Given all the bad "history" there). In any case, I find it hard to distinguish many types of European musics, eg. some of Sibelius' things sound "Russian" to me as well! (eg. his 1st sym. esp., I know he was influenced by Tchaikovsky, but I hear a distinct "Slavic" or "Russian" feel in that, just a "gut" feeling).

Anyway, about your fragment, I esp. liked how you built it up, bit by bit. Flute solo was nice touch. Keep it up, I look forward to hearing it when you finish it, or when you get through doing more of it...

[I'm now listening to your other things there, all good]...


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## Aramis

Sid James said:


> Interesting piece, sounded to have a bit of a "Russian" flavour to me as well, but I guess that to a Polish guy that's a bit insulting? (Given all the bad "history" there)


Politics and arts are not to be mixed with each other - I would be great liar claiming that I'm not greatly inspired by Tchaikovsky. Though yes, it is a bit insulting as I belive that aping national style of other land is serious sin for an artist. As much as I learn much from Russian (but also Italian, German and French) composers I do my best to remain faithful to idea of following original national style and never cross the line after which my music would be really closely related to Russian or any other foreign music.

I also find it very annoying when people call anything that has particular emotional taste of deep melancholy and longing "Russian" - it's silly. Is Wagner Russian too when he gets there?

Thank you for your comment.


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## Aramis

A little update:


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https://soundcloud.com/aramistm%2Fi-w-og-le-jazda-fraglesy

I don't know what happens to trumpets at 1:04, it should be all steady and they suddenly change their dynamic while there is no crescendo - it sounds weird but I can't help it.


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## Aramis

I combined the opening part with the middle:


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https://soundcloud.com/aramistm%2Fto-zr-b-herbat-i-potem-si-o

Hearing it together I think it doesn't flow too naturally


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## Aramis

Fixed and taken further:


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https://soundcloud.com/aramistm%2Ftajny-urok-grozy-si-a

The opening part is to be played by solo violin but Finale dosn't have option for "solo" and eventually the track it comes from must be set as string ensamble. You can always hear previous link where it's played by solo violin.

But who cares. Bitches. I'm going to make this thread 10 pages long with my own posts only.


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## Aramis

I find it very good, John. What do you think, John?


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## Aramis

Well, I wholeheartly agree with you, John, it's simply brilliant music, John. It deserves more attention, John, I'm telling you.


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## Aramis

Och, John, you're right as always, John, let's have a drink, John.


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## Aramis

Thank you for your comment John, and you too, John, let me show you something new:


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

I'm pretty satisfied with it now, all flows well and stuff.


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## Kopachris

It's quite nice, John. When do you think it will be finished?


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## Aramis

Surely before the end of august. But there is enough stuff to comment and criticise already.


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## Aramis

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https://soundcloud.com/aramistm%2Fsertenli-saja

MAHLER CAN'T TOUCH MY CHORD OF POWER (1:30)


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## Aramis

Now, I'm really pissed off, people produce 248573192453863 useless posts about totally uninteresting stuff per day but there is nobody to make solid commentary about new piece of music, one could start a thread with poll: "how big is your dick" and it would soon reach 23445643090 replies basing on which you could write whole book about the subject. At the same time you can post piece of music forged from most poetic affections under the sun and nobody will come. Hairy bunch banging a horse in baroque palace, that's what you are, he! Now I'm going to take umbrage and resent. DON'T BEG ME ON YOUR KNEES TO FORGIVE YOU AND COME BACK (I know you will, though) <leaves, ostensibly slamming the revolving door>


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## Klavierspieler

Sorry, John; I'll review it later today or tomorrow, John.


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## Klavierspieler

I don't quite get your Chord of Power, John; I understand why it is there but it still doesn't seem to belong. Perhaps if you played the chord and a moment later add the dissonance it might work better; right now it is so sudden that I have no time to consider what has happened, it sounds as if it has no connection with the rest of the piece. Maybe it would sound better with a real orchestra. The rest sounds great, John. Keep it up, John.


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## Aramis

The chord of power was given a purpose to brutally break the dreamy state represented by previous part of the piece. It's a program piece so in order to express the program's nature I must - sometimes - make things that don't seem musically right. I'm still considering some lesser changes around this breaking part though. 

Perhaps it will be better understood when I'll post the program that I'm just writing at this very moment. But it has to be translated first. 

Thank you for your comment.


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## Aramis

Continiuation:


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


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## Kopachris

What exactly did you change about the chord of power? 'Cause it sounds a lot better now; it breaks the dreamy state wonderfully.

Oh, and the continuation is quite good, too.


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## Klavierspieler

Kopachris said:


> What exactly did you change about the chord of power? 'Cause it sounds a lot better now; it breaks the dreamy state wonderfully.
> 
> Oh, and the continuation is quite good, too.


I think he didn't actually change much of anything, I think we're just getting used to it. Am I right, John?


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## Aramis

Yes, John, I don't think I've changed anything. I was rewriting it into another file so there was opportunity to accidentally change something but I don't think it really happened? I suppose it's matter or perception.

I've finally translated the program. I'm not sure if it's good, some may consider it pretentious and falsely poetic. It's inspired by programs that Mieczysław Karłowicz wrote to his works and incudes a reference to one of them which I'm going to quote later in this piece. I pretty much love the idea of ending with exhaustion but it's true challenge to write music so hysterical and passionate that it will properly lead to this moment. Aren't challenges cool though?

_A young artist, long immersed in vital and creative marasm, regains his life through passionate love which suddenly takes him in it's posessions.

In the moment opening the work, though, he stands stripped of illusions: rough waves of his affections crushed upon her inexorable heart. The love which appeared to be liberation from his lamentable state and beaming gateway to Rebirth joins the countless hosts of his former griefs which are now all back with thousandth strenghts, united under it's banner to pull him back into the whirl of grief, longings and bitterness.

Sweet souvenirs of those illusory hopes he fuddled himself with such delight just while ago come again - rapture over this divine being besides which nothing seemed to exist on this world, when he breathed love and belived sincererely that everything is at hand... but no! Quickly he comes back to his reasons and devastating awareness of reality. All is delusion, dreams of ostensible wonder with poisoned daggers under their tempting robes. And here he stands once more on the edge of abyss he just left - on wings from the same sensation which now, showing him it's less favourable face, pushes him there again. Throw himself back there to keep spining this black thread of gloomy, hopeless days? No! Rather to find new life notwithstanding, to seek another way. Stronger than ever before he feels the urge to achieve Rebirth.

But it's not so easy to forget. Again he is haunted by the souvenir of her, still beloved above anything else on this earth.. Gales! Storms! Torn by utmost, conflicting desires and thoughts he bursts into a frenzy of great passions and tosses wildly until he falls exhausted, breathless._


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## Ravellian

What a lovely work Aramis! The first 1:30 sounds like something from The Legend of Zelda or something similarly epic. How long have you been working on it?


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## Aramis

How long? The first one and half of minute which you're referring to took me about four-five days of not too strenuous work to compose. Zelda? Uhm, a game music comparison again?  <discomfiture>


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## Aramis

Minor changes:

- added clarinet glissando to string tremolo chords after 2:25 (pretty awesome idea, bravo me)
- reinforced the last appearance of french horn's fate motive with string's tremolo chord - it doesn't sounds well on this computer playback, you can hardly hear the cymbals too, but it will be all good in performance 
- the mentioned above appearane of fate motive doesn't get to the final pitch as it's symbolically ceased by trumpets, I've added the final _fis_ pitch to be played by violins in octave


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https://soundcloud.com/aramistm%2Fczy-to-nie-jest-okropno-by


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