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Mesmerized: final movement

Discussion in 'Critique & Feedback' started by Doug Gibson, Sep 22, 2017.

  1. #1 Doug Gibson, Sep 22, 2017
    If I may:

     
    Tino Danielzik, Alexander Schiborr and Paul T McGraw like this.
  2. #2 Paul T McGraw, Oct 24, 2017
    A lovely and intelligent piece. The mood is hard to pin down. It is sort of sad, but not exactly. Wonderful orchestration at the full tutti section.

    My only complaint is with the ending. I would have preferred a firmer ending, especially since this is a final movement. I realize you probably had a philosophical or aesthetic reason for the ending you wrote, so I would not expect (or desire) that you change your composition. I am just sharing with you what went through my mind at the end. To me, the highlight of the piece was the tutti section. This was an outstanding performance with very good musicians. The blend and intonation are so good I would not have been surprised if someone had told me it was first class samples with excellent mastering. It must have been a truly thrilling experience to have your piece so lovingly performed. Congratulations!
     
  3. #3 Alexander Schiborr, Oct 24, 2017
    The piece is indeed lovely and lyrical. Apart from a few things which comes to style I really enjoyed it. Chapeau!
     
  4. #4 Doug Gibson, Oct 24, 2017
    You mean like a hat and sunglasses ? :) Thanks for listening, and your kind words. All the best !
     
  5. #5 Doug Gibson, Oct 25, 2017
    Well there you go. That's me in a nutshell. I could put that on my T-shirt. Over coming my battles with depression is the hardest aspect of composing for me - by far.

    That's cool. It actually is one long piece. I called it "final movement" above, but that is not really accurate. It is actually what I call "the magic carpet coda". Meaning once you have established a piece enough, you can go anywhere for the ending and it somehow makes sense.
    I'll post the middle section which turned out well.

    I hated the conductor. A total ass. One of the worse humans I have ever met. He took it too slow. You'll hear a violin player play a wrong note at the very end. What can you do ?

    Yes, a rewarding experience that I am very grateful for. The other thing is what you learn in the process. The musicians in the orchestra were great, and I really enjoyed learning from them.

    That's kinda funny. Thank you again for your kind words and listening. I wish you all the best !
     
  6. #6 Alexander Schiborr, Oct 25, 2017
    Hey Doug,

    How are doing? :D Well, I also did a read on the response to Paul, and sometimes I am curious whats going on in New York?;)
    But I didn´t understood why you hated the conductor. First of all: Did you really "hate" him because he conducted the piece to slow or because of "one violin" player did a wrong note? I am not clearly sure there. Apart from that as you are the composer and arranger for that piece, isn´t it obvious that it is your task and responsibility to make sure to communicate stylistic manners towards the musicians who are performing your piece? If you manage not to get that straight I would say probably there was a lack of proper communication? I don´t know of course but can that be a point?
    But Paul said something really nice and I think also that the performance is really neat, so I am curious if you are a grumpy cat or just so much of sarcastic person? :D
    PS: You will me see not always with tophead and sunglasses walking aroung. Having said that: I like the movement though for the very ending I have something bigger in mind, just dynamic and arrangement wise. Guess that comes from my very personal taste to big Mahler Symphonies.
     
    Paul T McGraw likes this.
  7. #7 Michael Antrum, Oct 25, 2017
    That is nice !

    Unlike Paul, I really liked the ending - though maybe that's more because I'm getting bit fatigued with the epidemic of 'Epicness' that seems to pervade everywhere these days.

    Paul said it was intelligent, and I agree, but the adjective that was predominantly in my mind when listening was that it was thoughtful.

    I thought the orchestration was beautifully done.

    If I had to criticise, the only thing I would say is that I felt the section at 2:48 where it all ramps up was a little too fff compared to what had come before - There I was letting it all wash over me, immersing myself into the music, then boom - but of course that may well have been your intention all along, (and it may have been that my listening environment was not ideal).

    When I first listened to it I was unaware that this was a real orchestra and not samples, and the first thing I thought was - damn, these samples are sensational, before I twigged.....
     
    Paul T McGraw likes this.
  8. #8 Doug Gibson, Oct 26, 2017
    Hi Michael

    Thank you very much for both taking the time to listen and your very kind words. I am grateful for both.

    I wish you all the best, and look forward to hearing some of your music.

    Doug
     
  9. #9 Doug Gibson, Oct 26, 2017
    Ha ! Funny....

    Off topic, before I forget: I made some materials for you that I will post, very soon!!!, in your thread that I began commenting on.

    Me and NYC ....... it's complicated.

    You asked: Did you really "hate" him.

    Yes.

    No, that had nothing to do with it. Just "icing on the cake" as they say.

    So the story is this: I get the commission as I won a competition for "Emerging Composer". This is a major orchestra, and the really great thing was they had me attend a a rehearsal. They also assigned orchestration tasks that would then be read by the orchestra in rehearsal. This was all before I was to go away and write the piece. A fantastic experience and I am super grateful for it.

    Anyhow, the conductor arrives and I walk up to him to introduce myself. I extend my hand for a hand shake, and say "Hi, I'm Doug Gibson" He does not take it. Instead he points a finger in my face and says "I want you to know that I am not here to be embarrassed by you"

    I think I replied with "You're kidding right ?" As in....... "you aren't really this much of a piece of shit." No he was not. The whole experience with working with him was a stupid power play.

    See the difference between working in film, or hiring a orchestra for a recording session vs. getting a commission is that that orchestra is paying for everything. I am not. I am on their turf. In a studio setting you have more power, because .... you are hiring them.

    The conductor was just on an ego trip. He was out to "teach me a lesson".

    As this was for a live concert, my piece was allocated 45 minutes of rehearsal time. The work is nearly 15 minutes long. Arguing would eat into the time.

    There is a famous urban legend of Bartok and his Concerto for Orchestra. At rehearsal the the conductor turned to him and asked "is everything going as you intended ?" Bartok got up and said "Well, this is wrong, this is wrong, this is wrong, this is wrong." The conductor smiled and said "10 minute break everyone. I want to hear what the composer has to say". Apparently during this break the whole orchestra could hear the conductor shouting at the top of his lungs and a diatribe of profanity.

    After the break, Bartok walked out, took his seat and hung his head down toward the score. The conductor smiled and said "I spoke with the composer, and I want you to know he thinks everything is going fabulously."

    Both ! I offer no defense for my shortcoming as a person ! (One thing that is great about NYC is the freedom to be an asshole)

    I am grateful for Paul's comments and yours ! Thank you for listening. I really do appreciate that !

    I'll post the middle, hmmm perhaps the whole thing, so you can hear how it leads into the ending.

    Thanks again, and I'll get you those comments on your piece very soon !

    All the best, my cooky German friend !

    Doug
     
    Michael Antrum likes this.
  10. #10 Tino Danielzik, Oct 26, 2017
    I love this piece Doug! This is absolutely the style I love. I know that a lot of music here at RedBanned is about John Williams, Alan Silvestri, James Horner and Jerry Goldsmith, and there is nothing wrong with it, but it's great to see (hear) here a different approach. Your cue AVALANCHE is awesome, too. Keep up the good work!
     
  11. #11 Michael Antrum, Oct 26, 2017
    Well you certainly didn't embarrass him. It is, however, a pity that he embarrassed himself.

    He must have known what a big deal this was for you, and how it could be one of the highlights of your composing career, and rather than make it special and memorable, he deliberately tried to spoil it for you. What an arsehole.

    As Maya Angelou wrote, "I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel."
     
    Paul T McGraw likes this.
  12. #12 Doug Gibson, Oct 28, 2017
    Hi Tino !

    Thank you so much for the very kind words. I am not sure I am worthy of such praise, but I really am grateful you listened and the kind gesture.

    How is the woodwind piece going ? I really enjoyed it.

    Wishing you all the best

    Doug
     
  13. #13 Doug Gibson, Oct 28, 2017
    Hi Michael.

    Thank you very much for your words of support. Very kind of you.

    Wish you all the best !
     
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