Compose Forums

I'm just going to comment on the piano part, for now.

Consider moving some of the material up an octave or two. Right now the piano part's range is extremely limited, all within the space of the grand staff.

How about moving both hands up into treble clef?  for example measures 25 and 27 could have both hands up (the left hand up two octaves, the right hand up one octave)
That sort of thing. just to break from the "right hand in this range, left hand in that range" pattern.

I see a bunch of spots that could benefit from some range changes, or removal of octave doubling, or both.

I just got to listen to the recording of the Elegy. There are a few intonation difficulties, mostly in the 1st part (attributable to nerves, perhaps) but after the cadenza, the orchestra sounded pretty good!

Thanks for the nice video Mark! Also, for sharing the interesting discussion with the arranger. I'm gradually coming to understand arranging and orchestrating is a vast world in itself and a viable business for the talented few.

Ah, I stand corrected - it's not a Christmas tune. But nice all the same.  You might lengthen the breaks between some of the varations to mark their starts better. And certainly add more of them to make a five minute piece or longer. Get a bit more wild, too.  Try a minor key variation, a fugue, etc. Consider the variety achieved in say, Elgar's Enigma Variations.

J

The Poulenc was indeed difficult, and the orchestra mostly survived intact. Mistakes occurred here and there but the performance was musical and enjoyable all the same. What an entertaining romp that piece was - the absurd ending gave me a chuckle. The fast runs in the 4th movement certainly pushed the violins to the limit.

Perhaps the only problem with the Elegie was that the orchestra seemed a bit loud relative to the violin solo.  That hall seems to really amplify the sound of the orchestra.

Jay