For the Torrens

I was very impressed when I heard that door knock in the library, and at the time I didn't know who's that, but I shortly organised a household checklist- I knew immediately what had happened.

It was one of the earliest message reached me. I will say under that circumstance, what an effort and intelligence to reach me from anyone !! so that I'm sure to answer any I have heard . It was also such an super natural assistance from the god, that I dreamed my friend Grace, and slap on her face. And the second day there was a new opera star promoted by Oprah Winfrey. Shortly before the news of Sutherland.

I very much would like to comment on a version of a second singer. As I believe they are way too accomplished to need my advice. In fact, I will say that may virtually be technically the best trained among the flock, that's singing a composition of technically best/ professionally trained- from the instrument used etc. Yet in such case, a better singer really means a truly well accomplished artist. It actually took lives of some of them.

That song is brilliant I think, it's sober, and should have a lot more capacity for a good performer to explore. On top of the well-educated technique and general rules of music, that means a true artist, that probably only artist could comment on. Yet the fact is the charging emotional disturbance has replaced the sober tone and sensitive nuances.

Although I would rather to fully express the original music that has fully expressed in composition( that is so fully expressed, so that even a discount stand out - which is not satisfying result). A second thing is I notice the orchestral accompany, and wonder if it was originally written in such a version that's not economical !
Although I believe a well trained contemporary/classical composer would like to master the largest texture, to turn that into real sound means finance. So inevitably, therefore only two choice, either it's not heard, or be sponsored in a way to deprive the copyright. In fact, in many copyright law,the state own the copyright in  a state commissioned art piece. Equally, lot private/ corporate own copyright through sponsorship. Such finance determines the independence of art. Of course,it would be very lucky to have an understanding sponsor that's generally support real art, but in really such orchestral structure, does open an opportunity to the opposite. So that my first suggestion is, if that piece has been written for one's own , it's better to choose texture of less instrument and to explore the effect to the biggest. That is economical, and that's decided by finance and legacy- these are realistic issues.

Now that as laws and legacy concerned, I do suggest that we check the original law acts instead of receiving interpreted version from so called Australian Copyright Council, and there's also another independent organisation that charges fees to audience in general public. As I found same suggestion on that "copyright council" wasn't actually in the official law act. And there's no basis and obligations for an independent organisation to accept fees outside legacy compliance.

Following this piece alone, has aroused one concern of me. We may see the possibility , that the commissioned (by state or private person) copyright legacy comes only after the composition ,  but before the performance, ( that means it's not a commissioned work as contracted from beginning) .And during the process of turning scores into real sounds, such legacy demonstrates the occupation of commissioned copyright, and take additional composition as part of the commissioned work.

A special mention of " Albano" may related with Albury. And the inner development of this piece really pushes forward inevitably a real artist . Albury Choral Society was involved in a legacy with Sutherland month before her death.

Therefore some possible details we should notice:

1>   The demonstration videos of performance dated in 2008( even though could be a lie) . Sutherland signed the legacy of Albury in 2010, month before her death. So how this  legacy of 2010  is to be legally effective back dated, cover video demonstrated in 2008 .

2> The sponsorship concerned in such legacy,  indicates the accountable party of interest. And if it involves in a state related commission work and program, then there's accountable political party or figure.



Well back to the music itself - The sound track. The pattern of timpani, and I think it very creative as basic pattern of chords and effective especially when apply to sound track according to the pace of film, when all one need to do is to sound right on time of "events" .  And certainly, a timpani is simple enough to be both effective and receptive. Truly less people would think of handling timpani of four notes as the main structure- of both rhythm and harmony.

Because of such nature of a film sound track, when we listen to the music alone, it may not satisfy and maintain the intensity of music , as its pace set by film. This is not the problem of music itself, but where the music is to be used. As the timpani has provided such unique structure I wonder if you are interested in further developed such section into a piece that dedicates to the torrent river.

The simplicity of timpani can be very effective in short time ( in film ), but as music itself, such acoustics may limit its potential(lack of material)  for further development. Where I suggest you to fully use the potential of trumpets. Eliminate the strings part, which in inner parts as melody indicates ghost like uncertainty and is also creative. But financially, why should we pay extra 40 strings just for them to sleep in the inner part to get enough cash ? ( and I think that's also the trick of financial space funding an art project by government)  I think that could be effectively replaced by two trumpets, if we are able to develop the full capacity of trumpet. As even in orchestral music, strings are often muted by brass  in summit of intensity. The financial cost is 40 vs 2.

And to find out if trumpets has the capacity of a dimmer colour, I actually searched through YouTube, and I suggest in such way you may find raw sound materials that close to your imagination. And I believe they can, if  muted, and play in low register in flats. (The lowest range of a trumpet reach F-A, and the range of C1- G1 would be effectively dim I think, and you may listen and double check ) But compare to the string version, such arrangement has a full potentiality as music develops to support further intensity when mute is removed to sound fully. And now it's used less than half yet.

And the door knocking, is symbolically very clear. I hope in such piece it can be more dramatic. Either,  as a composer you may demand the performer , or you may check out which drum is better, a snare drum , or bass drum. As bass drum provide a much heavier resonance, in such way may be more powerful.  ( oh by the way, I found a snare drum solo performance. I think it creative. Yes , you may find demonstrative sound materials before your arrangement)

A third concern, is that as I can feel your background in contemporary music composition. In fact, the trouble of professional sector musicians are sometimes too career or money focused, so it makes harder for a composer to organise a group without enough finance support and everyone is busy either for their career or extra cash, and not too much chance left for the rest. So it's comparatively harder for composer in such sector to change score into real sound compare to a pop band, which despite insufficiency in training, would generally have lots enthusiasm to support alone, and people may band much easier without cash.

So I do think to further work on percussion and brass may be a very good choice for you, both economically and musically. As you can equally find lots jazz brass players, trumpets trombone, or tuba. As jazz players may more likely to play for the fun of music compare to classical players, and in such sector they do have enough technique skills that support your potentiality of music. And many jazz players do have classical background as well. And more over, less girls. Even a girl that plays brass well usually have boy like figure or disposition, or they just can't . And most percussion, I bet you they will be bored without new pieces, think of they only need to play four notes in each piece!!! ;) In fact, even in a classical repertoire sector, there's a lot need for new compositions written to these instruments. And such combination is enough to make your music intense , powerful and unique ( a unique flavour of intensity and logical balance is found in you) . I believe you will be very interested in exploring the capacity in these sections. I'm excited too :)

Again I suggest you to stick to a smaller size of ensembles, so as have more chance to hear the composition, such experience would be very beneficial . An orchestral music would be a lot more easier after each section fully and efficiently explored and heard , when condition is finally mature and necessary for it.
You may also do more sound tracks, as I found it practically interesting , and you will have audience.

The first half of the music I have no further suggestion on alteration, but for you to choose if you are going to keep it. As it sounds story telling that suits a film that is more legendary and heroically positive somehow. You may think it twice ha...