# Rhapsody for Symphony Orchestra (Studio Recording)



## Anze Rozman (Sep 1, 2013)

Hey!

Want to share with you guys my Rhapsody for Symphony Orchestra. I composed it in 2008 in my first year of my Bachelors studies of Music Composition. I re-orchestred it now in 2013 and had it recorded by the RTV orchestra of Slovenia.

http://www.youtube.com/watch?v=WJv5_2_0SIs

Would love to think what you guys think of it!

the score can be downloaded here:

http://we.tl/iQrEoCtMKU

Please comment 

Best Wishes

Anže


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## Ginharbringer (Sep 1, 2013)

Congratulations on getting your work performed! And thanks for providing the score, it really helps to be able to see what's going on.

I really really must ask, do you have any idea how they had the microphones set up and what microphones they used? I'm really curious, because the sound of the recording is quite a bit different then what you usually hear, for example the strings seem a little far back in the mix. Anyways, I'm curious!

About the piece, I like the picc solos, it works well in that register. I think in general, there are long sections broken up by short transition sections. In the long sections, the orchestration is really flows along (like m185, m217), and in the transition sections the orchestration is more accented and rhythmic (like m178). That contrast is good, but I think the contrast could be even bigger for a better effect. That may not be what you want, but it _is_ one possibility. Look at m237 in the brass. That riff in the brass really needs support from the strings and woodwinds, especially the trumpet line going up, but the strings are just sitting on that whole note! The lack of support weakens the effect I think.

Hopefully this is a little helpful. That's not to say more doubling is always better, but there are some places here that I think could use it. What do you think?


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## Anze Rozman (Sep 2, 2013)

Thank you for your reply! It is great how, that you noticed that the whole composition is build on contrast between nice melodic wind lines and harsh, "angry" brass. I agree, that sometimes I could have made this contrast even stronger. You are completely right about measure 237! I really dont know why i put the strings just standing there. I think I was going for a more brassy sound. I really dont know 

About the mic positions - I dont know! But i will look into it, since you are not the first to ask me that!

Thanks for the comment!


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## Ginharbringer (Sep 2, 2013)

No problem! Hopefully I didn't sound too harsh. Overall, the piece has some nice moments!


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## Anze Rozman (Sep 2, 2013)

Not at all! Very helpful comment! I seriously dont know what the strings there are just standing on a note and doing nothing! Sometimes Im surprised by my own orchestration. Sometimes in a positive but and sometimes in a negative way.

I do have 2 other live orchestral recordings:

http://www.youtube.com/watch?v=2c7U5GSFSWE&list=TLbieWst7Slrg (http://www.youtube.com/watch?v=2c7U5GSF ... ieWst7Slrg)
Revolutionary etude vs Fantasie impromptu (Orchestral piece on the themes of Chopin - performed by the Slovenian philharmonic orchestra). In this youtube video I write also, where I used which thematic material.

http://www.youtube.com/watch?v=oKbUe86-Q5s&list=TLbieWst7Slrg (http://www.youtube.com/watch?v=oKbUe86- ... ieWst7Slrg) 
Score for the short film Evermore. Performed by the Tonhalle orchestra of Zurich. If you wish I can send you the scores as well.

Best Wishes


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## Ginharbringer (Sep 3, 2013)

Hey, I really like these two pieces. Could you send me the score or link to them? I'd be really curious to see what's going on in there.

Honestly, I never thought the Revolutionary Etude could work well as an orchestra piece, and yet, there it is haha.


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## Anze Rozman (Sep 3, 2013)

Thank you! 

Sure! here are the scores:

http://we.tl/3MLR4aikYT
http://we.tl/ejhn33rkNn

Ask if you want more info about anything.

Anze


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## Ginharbringer (Sep 6, 2013)

I've been busy the last few days, but I'm looking at your Chopin score now. There are a few things I can learn from this writing haha. The strings are mixed really loudly in this score... it's almost as if the engineer thought they were too loud, and then reduced them too much for your other piece (the rhapsody).

Anyways, the beginning is pretty successful I think, even the part at m46 which is crazy high for the trumpets (high F, and with mutes  ).

I want to ask you, what you think about these parts...

m38 - the sixteenths in the melody AND the bass seem too fast and lack definition, is this the effect you wanted... is there a better way to orchestrate this? If I remember correctly, the bass in the Fantasie is mostly 8th notes in that particular section.

section E - the strings seem awfully aggressive, although that might just be the recording...

m66 - the melody being doubled in higher octaves in the woodwinds is actually what I am waiting for! The English horn and then cellos which have the melody are both deep and mellow instruments

section G - interesting style change haha.

section I - The build-up here is really nice. What I struggle with in parts like this is the role of the bass. I see that the bass is always there from the beginning to the end of this section with just long notes. Perhaps in the beginning of this section, the bass could be left out or somehow changed, so that it's more dramatic at the end?

The different bowings on the 16th note runs in the strings is useful for study. I think some of the runs are more successful than others because of this!

section N - seems a few woodwinds came in early haha

Michael


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## Anze Rozman (Sep 13, 2013)

Hi! 

Sorry for the really late reply! Was super busy!

-Yeah the trumpets are high, but I knew I was writing for a top notch orchestra so I decided to let the trumpets fly 

-In this section the first 2 bars are taken from Fantasie impromptu and the 2. too are just composed in the same stile. I wanted only the strings to play here, since I wanted a complete change of sound and a more dramatic effect on bar 42. I know the strings lack definition here. Its just very hard to play. I could double the strings with the winds to add more attack and definition, but then I would loose the dramatic effect at bar 42.

-E it is just the recording

- the doubling in the octaves comes in measure 71. Again I waited for the doubling since I wanted a more dramatic effect in the orchestration. The key to good orchestration is not to show all your assets at once 

-G here is where the exposition start

-section I: I agree with you! That would be such a better Idea to leave the bass out! WHy didnt I think of that ? Ill definitely make note about that

-I chose different bowing regarding what notes I wanted accented.

Hope that clears some stuff up! 

Alll the best

Anže


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