Sonata Form Workshop 2012

Damn, I'm speechless .....

Beautiful theme and beautiful development !!!

whether you like it or not, it's a masterpiece :) :)

well done to Simon too!

After much searching on the web I found nothing ... I thought "where the devil did Frank find this?" ... so after slaughtering Scriabin, I thought of flying a bit lower and only said that I struggled with the theme without overcommitting myself.

Now that I know it is by Frank, I can overcommit ... I confirm that I struggled with this theme and now that I know it is yours, I am not surprised ... by now you will have understood that you and I are quite different regarding these things, but despite this, having listened to the various arrangements, I enjoyed them.

What can I say, I agree with Ale regarding Frank's lyrical piece

What is impressive is listening to works that go from 2 to 12 minutes ... starting from the same material; at school they tell you that every theme can have many different elaborations, seeing them materialized always makes a certain impression. You know it, but deep down you don't believe it or you don't truly believe it ... or rather, you think your version is the best or the most possible one. Instead ... RStrauss, Frank (even 2), AleGozzo, RaffaeleB. ... a beautiful example of variety and schooling.

Great Frank. What a joke :D :D

You are a little genius.

rstrauss wrote:

you will have understood by now that you and I are quite different regarding these things

.... I am curious to know the contents of the topic for the next Lab on the piece for pf, to understand where you usually like to aim. Looking back, the topics have always been very varied and you even liked something very much (it seems to me the good Rachmaninoff).

However, I didn't particularly suffer in that topic; let's just say that having two different approaches (regardless of the context), I perhaps tend to rely more heavily on the material... whether it is mine or others'. I won't hide that I like variation and elaboration, which I see as a means to transfigure a certain "element" (be it a theme, subject, etc.) and, if possible, to carry it "forward" in time.

...and absurdly enough, I suffered more from my own theme in this lab (I am referring only to the lyrical piece that I tampered with) than from the other themes treated... partly because I was coming from 80 bars of exposition of a sonata form and I wanted to write only 20 bars of "A", partly because it was linked to the fact that objectively it is "deceptive" material. I know that every cockroach is beautiful to its own mother, but let's face it, there are problems that go beyond harmonic difficulty; here, rather than well-camouflaged triads, there weren't any...

Frank wrote:

.... I am curious to know the contents of the topic for the next Lab on the piece for pf, to understand where you usually like to aim. Looking back, the topics have always been very varied and something was even very much to your liking (it seems to me the good Rachmaninoff).

Yes, that Rachmaninoff one was my favorite; after all, the composer is one of my favorites.

Frank wrote:

However, I didn't suffer particularly much with that topic; let's just say that having two different approaches (regardless of the context), I perhaps tend to rely more on the material... whether it be mine or others'. I won't hide that I like variation and elaboration, which I see as a means to transfigure a certain "element" (theme, subject, etc., whatever it may be) and, if possible, to carry it "forward" in time.

In fact, that is exactly what I wanted to say... variations on a theme are not among my favorite forms... I prefer to invent, and perhaps sometimes even too much.

I'm already thinking about the next topic.

rstrauss wrote:

... I prefer to invent and perhaps sometimes too much.

Me too ... but by now you will have understood that it is an act that must be dosed within the piece, and knowing how to elaborate is a strong resource for being able to invent. Ideas will eventually need to be developed (by us or by others; how many composers have varied folk themes or those of others) and knowing in advance how that theme might look in its development can help you write down ideas that are developable and have great potential.

Of course, there are aphorisms, and it is clear that the lyrical piece I proposed belongs to that family, but the given theme, as we have all seen, could also have led to something quite different.