My compositon - P. Concerto Op.180 No.3 (F minor) "The Hands of destiny" (mp3)

[guisongs]

My composition - Piano Concerto Op.180 No.3 (F minor) "The Hands of destiny"

I   - Grave/Allegro
II  - Grave
III - Con Motto

Ps: Included the score (PDF)

The Players:

Kiev Philharmonic (recorded in Kiev, Ukraine)
Conductor: Robert Ian Wistin
Soloist: Dmitri Tavanets

[pianoplayjl]

Wow, I've only listened to parts of the 1st movement, but already I think this is something that has to be in the standard concerto repertoire for the future. You are a great composer!

[pianoplayjl]

Now I'm back at home I can listen to your compositions more clearly. There were some sections that were lively, which I like and contrasting sections which I also liked. Did you play this? If you did, I call this composition a monumental effort and commendable. I will listen to the 2nd and 3rd mvts some other time. keep posting!!!!!!!!!!!!!!

[guisongs]

Dear Mr pianoplayjl,

Thanks very much for your words regarding my concerto.
No, was not me performing, was Dmitri Tavanets from Kiev, recorded
in Kiev Ukraine by Kiev Philharmonic, conductor Robert Ian Wistin.

This result from a competition to select live composer music to have a contract
to be recorded by fine orchestras. My Concerto was selected, and I got that deal!

I can, however perform this concerto, if I get the opportunity to perform it in public.

My music is almost unknown, and I travel to another countries trying promote
and perform what I wrote, as well find opportunities.

Yes, I fell honored to post more compositions, at least to you, since nobody else
answered any of my "call for pianists" (call for pianists means invite pianists to listen my music,
that is all).

I am almost retired concert pianist teacher, I did everything in music (years performing (professionally since 15 y.o.), composing and studying the romantics, especially Chopin) - now I have 51 years of age, no more ambitions but sharing my music or performing online at paltalk to a small group of friends, and sometimes publishing my music at sibeliusmusic.com.

I worked in Brazil, mainly. Sometimes I traveled to another countries doing piano competitions
and later to promote my music (Hannover, Seattle, and now Los Angeles) and exchange information with pianists around the world.

I live in Los Angeles, California, enjoying the company of my wife, and her father.
I am very happy to find a web-site so well done and your work is admirable, giving to
the people a lot of culture regarding the piano music.

Please let me congratulate you for this web-site.
I never imagine that such site ever exist!
Wonderful to see pianist, teachers and ever composers sharing
their experience online.

The idea to offer scores online is also a perfect complement
indeed!

Anyway, thanks again for your nice words about my concertos.
I saw your profile and your achievements, congratulations!

Please write to me when you have time (I know that organize and maintain
a web-site like that demand much of your time as well your career.)

I will love to talk with you about my music, and listen your experiences
in music too, in your free time.

Best regards

Guilherme

[guisongs]

My composition - Piano Concerto Op.209 No.4 (Bb minor) "The Latest Battle"

I   - Grave/Agitato
II  - Andante
III - Scherzando

Ps: Included the score (PDF)

The Players:

Kiev Philharmonic (recorded in Kiev, Ukraine)
Conductor: Robert Ian Wistin
Soloist: Dmitri Tavanets

[pianoplayjl]

Look, it's getting late but I'm definitely going to hear your 4th PC. the name sounds exciting! and the 3rd PC too.

[guisongs]

take your time, and best wishes

Guilherme.

[guisongs]

... the piano technique used, all in few words.

================================================
I - Piano Concerto Op.180 No.3 (F minor) "The Hands of Destiny"
================================================

I a) Personal considerations

This is my favorite Concerto (I wrote 5) - And the reasons for that
is, I was able to do exactly what I want, and I was perfectly satisfied
 with the results. I dedicated this concerto of a man that gave me a
lot of encouragement, called Merv Hansen, and when many was against
(bad criticism that I received) , he stayed firmly on my site writing
many reviews that encouraged me to continue.
I thing I will never forget this man. is like an angel that come from heaven.
On that moment I was need some encouragement and he comes
to talk some about my music that I need to hear on that time.

Ib) Why I write "neo-romantic" music and my influences
 
My repertory as a pianist was always focused on romantics. I performed
a lot of Chopin. Some Bach, Mozart, Beethoven, Brahms, Rachmaninnoff,
and my favorite composer, Tchaikovsky. I always had interest to study
more and more his Piano Concerto no.1, that I consider one of the most
perfect and beautiful piano concertos ever written, as well adding Rachmaninoff No.2.

I don`t realize at first, but every piece that I performed, I studied as a pianist
but also as a composer researching how the composer wrote the music,
especially regarding the form.

So, after that the composer was born naturally, as a result of that researches.
Since that, some of these works inspired me to create my own.

First my ambitions become to write solo piano music, following the forms that I
already know, like preludes, fantasies, theme and variations, etudes, suites,
impromptu, ballade, nocturnes, etc, and later on to expand and modify the forms
soon my writings become more mature and frequently. Then I started to write
using more complex forms like "rhapsodies" in my on way, the last nocturnes
scherzo, ballade, and the last etudes too, as well more complex descriptive music.

After years writing solo piano music, and when I felt more "secure" of myself, I decide
to fly more "up" and try to write piano concertos.

Ic) Form, structure, piano technique used etc

My music is neo-romantic, tonal, and I consider myself a "melodist",
and my music don`t use "Lizst" kind of technique; but my music
have technique enough to keep a pianist busy and to give great
enjoyment to play. Without too many technical demands the pianist
will have more time to focus on issues like interpretation, dynamics,
and expression.

Talking about form and structure - I tried make things "different", for example
instead of use a Sonata form on first movement, I prefer the Lied form.
Also is cyclical since it`s use a cell theme (look for the intro octaves on piano)
that will be used in different ways on the second (canzonetta) and third (sonata).

The orchestral intro of the second movement I decided to use as a starting
point of the development section at the third, to give to the music
more cohesion and make it more uniform - create connections between movements.

Also my intention is to use the first and the second movement as one "Introduction"
before the "third," so in fact it can be considered the "first", main movement
(that is why it is a "Sonata" movement and not - RONDO.)

4 of my 5 piano concertos I used "sad" (minor) keys. Maybe because this was the
main key of the music I studied as well, and also because I love do the transition
to "major" on the second movements, to return to "minor" on the finale.

The only exception is the Concerto No.5 called "Juvenile" (Eb Major).
In fact, mostly of my solo piano music is written using "minor" key.

The concerto have a very small cadenza, before ends.
It`s use the second theme to build the climax to finish the piece,
one thing that Tchaikovsky and Grieg (another favorite) used,
and later by Rachmaninoff (no.2 and no.3).

================================================
II - Piano Concerto Op.209 No.4 (Bb minor) "The Last Batlle"
================================================

This concerto I consider the most "standard" concerto I wrote,
since the movements is Sonata (Eb minor) /Lied (Eb Major) /Rondo
(Eb minor).

I tried,  also "expand" the form and, make it more difficult regarding
the technique used - as well.
The cadenza (on the first movement), was, also, expanded - and more difficult.

The first movement uses one Intro, before the exposition of the 2 themes
development section and reexposition - on the first movement.
The intro will be used also, to finish the movement.

So is like INTRO - CENTRAL PART (EXPOSITION /DEVELOPMENT /REEXPOSITION
OF 2 THEMES - INTRO kind of structure)

The second movement is a lied form (A-B-A), but also expanded.
The "A" part is expressivo, melodic, and the second part ("B") more "Agitato",
technical.

The third movement is a Rondo/Sonata, and also descriptive.
Imagine around midnight and some Ghost dancing a waltz in an empty,
abandoned old mansion. They dancing as they flying up to the ground.

I consider my fourth concerto compared with my third, as the Rachmaninoff
third is with the second: Expanded, and more difficult.

The most of the technical difficulties is on the Cadenza (first movement)
and on the "B" part of the second movement.
The third have some parts that require training, but the most of it
is perfect manageable.

[pianoplayjl]

PC 4:
The first movement was good. I love the octaves, obviously depicting the intensity of the battle. It was ferocious. Well named! There were some nice moments too, which were pretty calm.
The second movement: The beginning reminds me of Rachmaninoff's 3rd PC where the orchestra plays for a while before the piano comes in. Some nice melodic themes too!

[pianoplayjl]

... the piano technique used, all in few words.

================================================
I - Piano Concerto Op.180 No.3 (F minor) "The Hands of Destiny"
================================================

I a) Personal considerations

This is my favorite Concerto (I wrote 5) - And the reasons for that
is, I was able to do exactly what I want, and I was perfectly satisfied
 with the results. I dedicated this concerto of a man that gave me a
lot of encouragement, called Merv Hansen, and when many was against
(bad criticism that I received) , he stayed firmly on my site writing
many reviews that encouraged me to continue.
I thing I will never forget this man. is like an angel that come from heaven.
On that moment I was need some encouragement and he comes
to talk some about my music that I need to hear on that time.

Ib) Why I write "neo-romantic" music and my influences
 
My repertory as a pianist was always focused on romantics. I performed
a lot of Chopin. Some Bach, Mozart, Beethoven, Brahms, Rachmaninnoff,
and my favorite composer, Tchaikovsky. I always had interest to study
more and more his Piano Concerto no.1, that I consider one of the most
perfect and beautiful piano concertos ever written, as well adding Rachmaninoff No.2.

I don`t realize at first, but every piece that I performed, I studied as a pianist
but also as a composer researching how the composer wrote the music,
especially regarding the form.

So, after that the composer was born naturally, as a result of that researches.
Since that, some of these works inspired me to create my own.

First my ambitions become to write solo piano music, following the forms that I
already know, like preludes, fantasies, theme and variations, etudes, suites,
impromptu, ballade, nocturnes, etc, and later on to expand and modify the forms
soon my writings become more mature and frequently. Then I started to write
using more complex forms like "rhapsodies" in my on way, the last nocturnes
scherzo, ballade, and the last etudes too, as well more complex descriptive music.

After years writing solo piano music, and when I felt more "secure" of myself, I decide
to fly more "up" and try to write piano concertos.

Ic) Form, structure, piano technique used etc

My music is neo-romantic, tonal, and I consider myself a "melodist",
and my music don`t use "Lizst" kind of technique; but my music
have technique enough to keep a pianist busy and to give great
enjoyment to play. Without too many technical demands the pianist
will have more time to focus on issues like interpretation, dynamics,
and expression.

Talking about form and structure - I tried make things "different", for example
instead of use a Sonata form on first movement, I prefer the Lied form.
Also is cyclical since it`s use a cell theme (look for the intro octaves on piano)
that will be used in different ways on the second (canzonetta) and third (sonata).

The orchestral intro of the second movement I decided to use as a starting
point of the development section at the third, to give to the music
more cohesion and make it more uniform - create connections between movements.

Also my intention is to use the first and the second movement as one "Introduction"
before the "third," so in fact it can be considered the "first", main movement
(that is why it is a "Sonata" movement and not - RONDO.)

4 of my 5 piano concertos I used "sad" (minor) keys. Maybe because this was the
main key of the music I studied as well, and also because I love do the transition
to "major" on the second movements, to return to "minor" on the finale.

The only exception is the Concerto No.5 called "Juvenile" (Eb Major).
In fact, mostly of my solo piano music is written using "minor" key.

The concerto have a very small cadenza, before ends.
It`s use the second theme to build the climax to finish the piece,
one thing that Tchaikovsky and Grieg (another favorite) used,
and later by Rachmaninoff (no.2 and no.3).

================================================
II - Piano Concerto Op.209 No.4 (Bb minor) "The Last Batlle"
================================================

This concerto I consider the most "standard" concerto I wrote,
since the movements is Sonata (Eb minor) /Lied (Eb Major) /Rondo
(Eb minor).

I tried,  also "expand" the form and, make it more difficult regarding
the technique used - as well.
The cadenza (on the first movement), was, also, expanded - and more difficult.

The first movement uses one Intro, before the exposition of the 2 themes
development section and reexposition - on the first movement.
The intro will be used also, to finish the movement.

So is like INTRO - CENTRAL PART (EXPOSITION /DEVELOPMENT /REEXPOSITION
OF 2 THEMES - INTRO kind of structure)

The second movement is a lied form (A-B-A), but also expanded.
The "A" part is expressivo, melodic, and the second part ("B") more "Agitato",
technical.

The third movement is a Rondo/Sonata, and also descriptive.
Imagine around midnight and some Ghost dancing a waltz in an empty,
abandoned old mansion. They dancing as they flying up to the ground.

I consider my fourth concerto compared with my third, as the Rachmaninoff
third is with the second: Expanded, and more difficult.

The most of the technical difficulties is on the Cadenza (first movement)
and on the "B" part of the second movement.
The third have some parts that require training, but the most of it
is perfect manageable.

Epic program notes! Nice that you typed them in because now I understand and appreciate your great works more.
I loved your 1st movement of your 3rd PC, particularly the beginning when the piano first plays. The octaves sound funny! You have a degree of fire and intensity and calmness in your music which creates contrast, which I like very much. I want to hear more!

[pianoplayjl]

Sorry, I forgot to add one thing. Nice use of diminished arpeggios in the PC 1st mvt! effective

[guisongs]

PC 4:
The first movement was good. I love the ocatves, obviously depicting the intensity of the battle. It was ferocious. Well named! There were some nice moments too, which were pretty calm.
The second movement: The beginning reminds me of Rachmaninoff's 3rd PC where the orchestra plays for a while before the piano comes in. Some nice melodic themes too!

Thanks for your review.

be careful, is not ocatves but octaves.

About my second movement "reminds" Rachmaninoff only because the orchestra
enters and expose the themes before the piano... not make sense at all,
because structure and form is not the "music" but the manner of construction
of something and the disposition of its parts. When some structural and musical form
become standard, everybody uses it. Like the Sonata form, that was used by Mozart
Haydn, Beethoven for example. But musically each one preserved their own individuality.
If you taking just one example, like the first movement of Chopin`s E minor piano concerto Op.11, you will realize that he uses to expose the themes on the orchestra before the piano (Hummel influence), but this not means that his concerto "reminds" Hummel`s music at all.
Is just about the way the composer works to organize musical ideas.

Doing one analogy, take the cars. Every car follow the standard structural rules, that is,
the use of breaks, lights, etc. But each car have it`s own peculiarities regarding how to use that standards.

The music works in the same way. Take Beethoven and Mozart; They shared the same form,  called Sonata, but each one used it in different way.

Also the use of the second theme at the end of some piano concertos was shared by Grieg, Tchaikovsky (no.1) and Rachmaninoff (no.2 and 3). I used myself on my concerto no.3

But this is about music structure

[pianoplayjl]

Thanks for your review.

be careful, is not ocatves but octaves.

About my second movement "reminds" Rachmaninoff only because the orchestra
enters and expose the themes before the piano... not make sense at all,
because structure and form is not the "music" but the manner of construction
of something and the disposition of its parts. When some structural and musical form
become standard, everybody uses it. Like the Sonata form, that was used by Mozart
Haydn, Beethoven for example. But musically each one preserve their own identify.
If you taking just one example, like the first movement of Chopin`s E minor piano concerto Op.11, you will realize that he uses to expose the themes on the orchestra before the piano (Hummel influence), but this not means that his concerto "reminds" Hummel`s music at all.
Is just about the way the composer works to organize musical ideas.

Doing one analogy, take the cars. Every car follow the standard structural rules, that is,
the use of breaks, lights, etc. But each car have it`s own peculiarities regarding how to use that standards.

The music is the same. take Beethoven and Mozart share the use of the same form called Sonata, but each one used the form in different way.

Also the use of the second theme at the end of some piano concertos was shared by Grieg, Tchaikovsky (no.1) and Rachmaninoff (no.2 and 3). I used myself on my concerto no.3

Ah...yes. I understand.

The 3rd mvt of the 4th PC:
Nice use of I think thirds in your music and passing ideas throughout parts of the orchestra, which makes it like a conversation. By the way, the beginning sounds like Italian music and reminds me of a tarantella! Even though it is neither. But still I like it. Even my friends like it.

[guisongs]

Epic program notes! Nice that you typed them in because now I understand and appreciate your great works more.
I loved your 1st movement of your 3rd PC, particularly the beginning when the piano first plays. The octaves sound funny! You have a degree of fire and intensity and calmness in your music which creates contrast, which I like very much. I want to hear more!

Please try to explain to me why you said about the octaves souding "funny" (...)
The concerto is tragic, Hands of Destiny means when I wrote that concerto
I was in difficult times, no opportunities, and suddenly I got one chance.
So, this concerto certainly is not what I can say "funny"...

Yes, I try to make ideas to contrast with each other, on this you are 100% correct.
The piano part on the agitato I tryed to imitate the feeling of a horse galloping with the
use of chords rhythmically, what is the leitmotiv of a "destiny", that can change our lives and we cannot do anything to prevent it. This is the "A" part. The "B" means expressivo, and lyrical.

The third movement of concerto 4 is a RONDO/SONATA, and the idea is to use a fast tempo
"Waltz" to describe the Ghosts dancing a waltz (see description up on another post)




 

[pianoplayjl]

I'm sorry for my comments. You are right, the concerti are tragic and you are right, it really depicts a great struggle and a great outpouring of emotion. I'm sorry to insult your concerto making ridiculous comments. I should've known better. your concerti are serious and are great compositions, which I think deserved to be heard in everyone's ears. pleas don't take my bad comments into heart. I'm sorry.

[guisongs]

PC 4:
The first movement was good. I love the ocatves, obviously depicting the intensity of the battle. It was ferocious. Well named! There were some nice moments too, which were pretty calm.
The second movement: The beginning reminds me of Rachmaninoff's 3rd PC where the orchestra plays for a while before the piano comes in. Some nice melodic themes too!

Thanks! I never imagine that my concerto was about to create such effect/reaction on you.
Very interesting indeed!

I will notate on my book, this is very important for me, since the different ways that
the listened "feels" listening my concertos is one of the reasons that make me desire post my music here.

[guisongs]

I'm sorry for my comments. You are right, the concerti are tragic and you are right, it really depicts a great struggle and a great outpouring of emotion. I'm sorry to insult your concerto making ridiculous comments. I should've known better. your concerti are serious and are great compositions, which I think deserved to be heard in everyone's ears. pleas don't take my bad comments into heart. I'm sorry.

No problem! You was right about the Tarantella. Because the waltz is in fast tempo can be easly connected [mistaked] with 6/4 [6/8] time signature! You right!

[pianoplayjl]

Can you post some of the other concerti and perhaps even some extremely good selected compositions? Please do if someone has recorded them. I just want to try to review your compositions. I really think they are really nice!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Every time I hear your concerti, I discover something new and understand the music more and more, just like reading books.

BTW I'm obssessed with your 4thPC. Hopefully I can discover alot more things in there.

[guisongs]

PC 4:
The first movement was good. I love the ocatves, obviously depicting the intensity of the battle. It was ferocious. Well named! There were some nice moments too, which were pretty calm.
The second movement: The beginning reminds me of Rachmaninoff's 3rd PC where the orchestra plays for a while before the piano comes in. Some nice melodic themes too!

"Ferocious" can describe what I wanted (part "A") - congratulations! but instead of a
ferocious "fight", is a ferocious way of a horse galloping in uncontrollable manner,
to describe the "destiny" that can change our lives and we cannot do anything to prevent, like
a friend of yours [or mine] driving and have one [fatal] accident.
The second part (part "B") is just our reaction of that destiny changes, as we feel impotent
(under the circumstances explained up here], and the sadness of the lyrical theme evokes that feeling.

ps: my English is not perfect, so sorry any mistake.

[guisongs]

========================================
P. Concerto Op.215 No.5 (Eb minor) "Juvenile" (mp3)
========================================

This concerto is the only one I wrote in a "major" key.
Is a descriptive concerto, like the number 3 and 4.
(the fourth is the fight against the good and the bad forces that exist
inside us)

But here is a totally different thing, this is about the children
in 3 moments:

1) Running (Vivo)
2) Sleeping (Andante)
3) playing (Scherzando)

So, the dramatic way of the third and fourth is not present here.
This concerto is, instead, more innocent, light and simple,
(Sonata/Lied/Rondo-Sonata). I tried also to make a different way
to start the concerto using one Intro - that have a cell theme; it will
be used on the second and third movements, making this concerto
almost a "cyclical" one.

So listen the intro of first movement, and then listen the theme of the third:
The roots is the same, but the way I used on the first movement have a lot of impact,
since on the third is used in different way.
The cell is used also on the second movement. Try to find where the cell is!
One tip: is NOT on the main theme. And the melodic accent is changed.

The players:

Moravian Philharmonic (recorded in Czech republic)
Conductor: Vit Micka
Pianist: Vacla Macha

This close the "trilogy" of my 3 descriptive concertos

[guisongs]

Can you post some of the other concerti and perhaps even some extremely good selected compositions? Please do if someone has recorded them. I just want to try to review your compositions. I really think they are really nice!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Every time I hear your concerti, I discover something new and understand the music more and more, just like reading books.

BTW I'm obssessed with your 4thPC. Hopefully I can discover alot more things in there.

Thank you. I feel honored that at least you was inspired to write some lines
about my works.
As you see I posted now the Number 5. The other two concertos (op.54 no.1 [A minor] and op.86 no.2 [G minor] for youth pianist and orchestra was not performed in public. So I have
only the record resulted by the playback of the sibelius scores, using Vst samples.

Sooner I can do a good one, I will post here to you listen.

You can also choose one piece from my catalogue
and I can show to you

I recorded myself some of my 18 Nocturnes,
that I can show here too.

My plan is record all my 18 Nocturnes, when I have time.
Very interesting also is my "descriptive music"
(Martyrdom of Insects, Feelings, My Son Playing,
"Mountain Ghost, Spirits in the Dark" etc)
My Sonata Op.90 No.2 (D Major) is descriptive also.

Catalogue [catalog] of works

29 Preludes for Piano op.1
Sonata for Violin and Piano op.2 no.1
Infant Suite for Piano op.3 no.1
Sonatina for Piano op.4
6 Ideas for Piano op.5
Suite for Flute and Piano op.6 no.1
Sonata for Violin and Piano op.7 no.2
Impromptu for Piano op.8
Fantasy for Guitar and Piano op.9
Fantasy for Cello and Piano op.10
Music for Violin and Piano op.11
Fantasy for Clarinet and Piano op.12
Fantasy for Piano op.13 no.1
Braziliana for Piano op.14
3 Themes for Piano op.15
Poetic Prelude for Piano op.16 no.1
Fantasy for Flute and Piano op.17 no.1
Scherzo for Bassoon and Piano op.18
Poetic Prelude for Piano op.19 no.2
Infant Suite for Piano op.20 no.2
Prelude and Fugue for Piano op.21
Fantasy for Violin and Piano op.22
Fantasy for Piano op.23 no.2
Sonata for Cello and Piano op.24 no.1
Two part Invention for Piano op.25
Music for Violin Viola and Piano op.26
Fantasy for Piano op.27 no.3
Fantasy for Piano op.28 no.4
Music for Piano op.29
Ballade for Piano op.30
"I Love You" for Singer 2 Fl. and Piano op.31
Suite for Flute and Piano op.32 no.2
Fantasy for Flute and Piano op.33 no.2
Theme and 7 variations for Piano op.34
Sonata for Viola and Piano op.35
Etude for Piano op.36 no.1
Etude for Piano op.37 no.2
Fantasy (Trio) for Flute Clarinet Bass.and Piano.op.38
Etude for Piano op.39 no.3
Etude for Piano op.40 no.4
Nocturne for Piano op.41 no.1
Nocturne for Piano op.42 no.2
Nocturne for Piano op.43 no.3
Nocturne for Piano op.44 no.4
Nocturne for Piano op.45 no.5
"Rio" for Singer and Piano op.46
Nocturne for Piano op.47 no.6
Sonata for Bassoon and Piano op.48 no.1
Fantasy for Oboe and Piano op.49
Sonata for Violin and Piano op.50 no.3
Sonata for Violin and Piano op.51 no.4
Nocturne for Piano op.52 no.7 for Piano
Fantasy for Trio and Piano No.1 op.53
Piano Concerto op.54 no.1
“Passion” for Singer and Piano op.55
Poetic Prelude for Piano op.56 no.3
Symphonic Overture for Orchestra op.57
Symphonic Moment for Orchestra op.58
"Feeling" for Piano op.59  
Serenade for Violin and Strings op.60  
3 Poems for Piano op.61  
4 Fantasies em Jazz for Violin and Piano op.62  
5 Fantasies em Jazz for Piano op.63  
"Walk in the Street" for Piano op.64  
"Landscape" for Piano op.65  
"The River" for Piano op.66  
"My Son Playing" for Piano op.67  
"The Cloud" for Piano op.68  
"The Stars" for Piano op.69  
"Martyrdom of the Insects" for P.op.70  
"Happy Hour" for Piano op.71  
"Sad Waltz" for Piano op.72 no.1  
Nocturne for Piano op.73 no.8  
"Mrs. Evie drink the tea" for Piano op.74  
"Mr.Alfred drink the coffee" for Piano op.75  
Nocturne for Piano op.76 no.9  
 Serenade for Trumpet Sax 2 Trombones Tuba and Piano op.77  
"The Toy" for Piano op.78  
"Planets" for Flute and Piano op.79  
28 Romantic Themes  for Piano op.80  
Nocturne for Piano op.81 no.10  
Nocturne for Piano op.82 no.11  
 "...for the sick children" for Piano op.83  
Fantasy for Piano op.84 no.5  
Waltz for Piano for (4 hands) op.85    
Piano Concerto op.86 no.2  
Nature Suite for Piano op.87 no.3  
Scherzo for Piano op.88  
Toccata for Piano op.89  
Sonata for Piano op.90 no.2  
Nocturne for Piano op.91 no.12  
Christmas Rhapsody for piano op.92 no.1  
Christmas Rhapsody for piano op.93 no.2  
Etude for piano op.94 no.5  
Canzonetta for 4 Cellos op.95  
Rhapsody (Based in third piano concerto themes of Rachmaninnov) for Piano op.96  
Rhapsody (Penny Lane) for Piano  op.97  
Rhapsody (Happy Birthday) for Piano op.98  
Hungarian Dance for 2 Pianos op.99  
Polonaise for Piano op.100  
Polonaise for Piano op.101  
Chopin Concerto op.102  
Fantasy in jazz for Trombone and Piano op.103 no.1  
Fantasy in jazz for Trombone and Piano op.104 no.2  
Fant.in jazz for Tromb.and Piano op.105 no.3  
Fant.in jazz for Tromb.and Piano op.106 no.4  
Etude for Guitar op.107  
Nocturne for Guitar op.108  
Theme for Sibelius op.109 no.1
Ritwav for G.,Bass, E.P.and Strings op.110 no.1
Ritwav for Organ and Violin op.111 no.2  
Ritwav for Trumpet Piano Bass and Drums op.112 no.3  
Woman Dancing in the Desert for Orchestra (movie theme no.39) op.113  
Movie Theme for Orchestra op.114 no.29
God Save the Queen Rhapsody for Piano op.115
One Kiss in Albeniz for Piano op.116
One Kiss in Tchaikovsky for Piano op.117
Movie Theme  for Orchestra op.118 no.01
Minute Bach for Str, 2 P, Organ and Bass Guitar op.119
Movie Theme for Piano and Orchestra op.120 no.02
Movie Theme for Orchestra op.121 no.03
Movie Theme for Vibraphone and Orchestra op.122 no.04
Movie Theme for Wood. P. and Orchestra op.123 no.05
Movie Theme for Piano and Orchestra op.124  no.06
Movie Theme for Oboe P. Cel.and Orchestra op.125 no.07
Ritwav for Bass Trump, Org. G. and Drums op.126 no.4
Ritwav for Guitar Bass and Drums  op.127 no.5
Ritwav for Organ, Bass and Drums op.128 no.6
Ritwav for 2 Org, Str, Bass and Drums  op.129 no.7
Movie Theme for Piano and ensemble Op.130 no.08
Ritwav for Trumpets, O, Guitar and Drums op.131 no.8
Ritwav for Organ, Bass Guitar and Drums  op.132 no.9
Ritwav for 2 Tr, Horn, 2 Org, B. Dr. and Str op.133 no.10
Ritwav for 2 Organs, Bass and Drums op.134 no.11
Ritwav for 2 Organs, Bass and Drums op.135 no.12
Movie Theme for Piano and Orchestra op.136 no.09
Movie Theme for Piano and Orchestra op.137 no.10
Song for Naira for Singer and Piano op.138
Nocturne for Piano op.139 no.13
Sorcerer`s Apprentice (adaptation) op.140
Sonata for Violin and Piano op.141 no.5
Musica - I Feel Affliction  for Violin and Piano op.142
Scherzo for Violin and Piano op.143
Sibelius Theme op.144 no.2
Movie Theme No.11 for 2 Guitars and  Orchestra op.145
Etude for Piano "Katrina" op.146 no.6
Movie Theme for Piano and Orchestra op.147 no.12
Movie Theme for Bass and Orchestra op.148 no.13
Movie Theme for Bass and Orchestra op.149 no.14
Movie Theme for Piano and Orchestra op.150 no.15
Movie Theme for Piano and Orchestra op.151 no.16
Movie Theme for Trumpet and Orchestra op.152 no.17
Movie Theme for Piano and Orchestra op.153 no.18
Movie Theme for Flute and Orchestra op.154 no.19
Movie Theme for Piano Orchestra op.155 no.20
Movie Theme for Harmonica Orchestra op.156 no.21
Movie Theme for Piano and Orchestra op.157 no.22
Canzonetta for Flute, Oboe and Cello op.158
Canzonetta for 4 Clarinets op.159
Fantasy for Clarinet and Piano op.160 no.2
Sonata for Flute and Piano op.161 no.1
Sonata for Clarinet (Bb) and Piano op.162 no.1
Canzonetta for Fl. Ob. Clar.(Bb) Bass.and F.Horn op.163
Canzonetta for String Quartet op.164
Symphonic Suite op.165
Movie Theme for Piano and Orchestra op.166 no.23
Movie Theme for Piano and Orchestra op.167 no.24
Movie Theme for Piano and Orchestra op.168 no.25
Movie Theme for Flute and Orchestra op.169 no.26
Happy Moment in C for Vibraphone and Strings op.170
Movie Theme for Piano op.171 no.27
Movie Theme for Vibraph.and Orchestra op.172 no.28
Movie Theme for Vibraphone and Orch op.173 no.30
Movie Theme for Piano and Orchestra op.174 no.31
Movie Theme for Orchestra op.175 no.32
Movie Theme for Piano and Orchestra op.176 no.33
Movie Theme for Trp, Piano and Orch. op.177 no.34
Nocturne for Piano op.178 no.14
Movie Theme for Orchestra op.179 no.39
Piano Concerto op.180 No.3
Movie Theme for Piano op.181 no.35
Movie Theme for Piano and Orchestra op.182 no.36
Movie Theme for Piano and Orchestra op.183 no.37
Movie Theme for Flute and Orchestra op.184 no.38
Sonata for Clarinet (Bb) and Piano op.185 no.2
Sonata for Cello and Piano op.186 no.2
Sonata for Viola and Piano op.187 no.2
Fantasy (trio) for Woodwinds and Piano Op.188 No.02
Fantasy for Bassoon and Piano op.189
Scherzo for Oboe and Piano op.190
Sonata for Oboe and Piano op.191 no.1
Fantasy for Trio and Piano op.192 no.2
Sonata for Cello and Piano op.193 no.3
Serenade Classica for Brass and Str. op.194
Musica for Violin Cello and Piano op.195
Serenade Classica for Woodwinds and Str. op.196
Musica for Flute and Clarinet op.197
Sonata for Bassoon and Piano op.198 no.02
Fantasy (Trio) for Brass and Piano op.199
Mountain Ghost for Piano op.200
Come Back to Me op.201
Musica for String Quartet op.202
Serenate for Flute and String orchestra op 203
Musica for Trombone and Piano op.204
Musica for Contrabass and Piano op.205
Sonata for Cello and Piano op.206 no.4
Serenade for Clarinet and Strings op.208
Piano Concerto op.209 no.4
Waltz for Piano op.210 no.2
Nocturne for Piano op.211 no.15
Nocturne for Piano op.212 no.16
Young Composers Theme op.213
Nocturne for Piano op.214 no.17
Piano Concerto op.215 no.05
Nocturne for Piano op.216 no.18
Canzonetta Wind Quartet op.217
Canzonetta String orchestra op.218
Fantasy to Ingfrid op.219
On the eve of sadness op.220
Piano Concerto op.221 no.1 (with strings)
Soft for Tenor and Orchestra op.222
Grand Fantasy Brilliant Op.223 no.6

[pianoplayjl]

Any nocturne that you recommend would be nice. Perhaps the one that is closest to your heart.

[rachfan]

Hi guisongs,

I really enjoyed hearing your concerto!  The third movement was my favorite, but the entire concerto is wonderful.  I congratulate you of this very fine achievement.  

You know, when the Modernists came along, they declared that the Romantic Age was bankrupt and finished.  But the Late Romantics like Rachmaninoff, Catoire, Mendtner, Scriabin, Liadov, Liapunoff, Bortkiewicz and others proved that notion of the modernists to be wrong.  And now, there is a whole new movement of Neo-Romantics like yourself proving over and and again that there is still an infinite amount of ideas, themes, passions, beauty, and ecstasy that enables Romanticism to persist and thrive in our time.  It enriches our world and makes it a better place.  Your concerto is a vibrant example of Neo-Romanticism at its best.  

Thank you for upholding the traditions and promises of this musical style that comes from the heart and feeds the soul.

David

[pianoplayjl]

Thank you Rachfan for posting in this thread. The concerti really deserve alot of attention. It's good that you gave some opinions since 1 person giving opinion is not enough. I like the 4th better than the 3rd but both are really in a high standard. I think your concerti are proof that musical ideas can never run out and there is always originality in music.

[rachfan]

Hi pianoplayjl

I agree.  From what I heard here, guisongs is a very worthy composer of note.  Hopefully many of the members and visitors here will take time to listen to this marvelous work.  The composer deserves a lot of credit in my opinion.

David 

[guisongs]

Hi pianoplayjl

I agree.  From what I heard here, guisongs is a very worthy composer of note.  Hopefully many of the members and visitors here will take time to listen to this marvelous work.  The composer deserves a lot of credit in my opinion.

David 

Thank you very much pianoplayjl and rachfan, for your words about my music.

Now I will post some of my solo works.
As you already know, I am piano based composer.
My activities between 1975 and 1988 was mainly as a classical
pianist, performing romantic music, and doing recitals and competitions
with my brother violinist Harry.

But between this activities, I started do write my own music,
and the most significant result of these efforts become the

==============
29 PRELUDES OP.1
==============

29 Preludes for Piano Op.1 (written in 1981)

What motivated me, Is was to write the preludes in all tempered keys.
I try to innovate in many fields like use of uncommon time signatures,
(5/8, etc) melody line, harmony, modulation, use of modal scales, and more.
Some Preludes is also descriptive and didactic since explore certain kind of
piano techniques (without going far to be considered "Etude")

In fact, I wrote this Preludes as my first effort to put out my creativity,
"melodism" and improvisation capabilities, all under a tonal (few times modal)
scales.

Following is the description of each Prelude, sometimes about the technique used,
and also - what describe (when the prelude is descriptive) as well the key of each one.

I wrote this preludes with 21 years old, when I was about to start my graduation
on university in south of Brazil. You will notate in some preludes one influence
from Chopin and that is because I was performing at lot of Chopin music on that time.

But looking more carefully on each prelude, you will see also that I was about to develop
my own style, that started to 'emerge' from that influence.
The preludes that I can choose to use as the examples of this can be the number 2, number 24, number 22, number 20 number 26 and many others. As a heavly influenced by Chopin
I can say the last one, (no.29) for example, that works on double notes.

So this 29 Preludes is very important to me, since was my first large-scale work
and was decisive to me, because I was able to express myself at first time,
what make me fell more secure of my creative power that was about to develop
on the more late works.


=====================
Description of each prelude
=====================

Prelude No.01 (C Major) - Arpeggios
Prelude No.02 (A minor) - Scales, 5 Fingers Exercise
Prelude No.03 (G Major) - To 4 and 5 Finger
Prelude No.04 (E minor) - The baby sleeping
Prelude No.05 (D Major) - Cantabile, expression (The Cello)
Prelude No.06 (B minor) - Current, flow of water
Prelude No.07 (A Major) - Expressive, legato - cantabile
Prelude No.08 (F# minor) - The Clock
Prelude No.09 (E Major) - Octaves in high speed
Prelude No.10 (C# minor) - Exercise for the thumb
Prelude No.11 (B Major) - Cantabile, expression
Prelude No.12 (G# minor) - Arpeggios, broke chords
Prelude No.13 (F# Major) - Broke Chords
Prelude No.14 (Eb minor) - The Waterfall
Prelude No.15 (Db Major) - Expression (Music Box prelude)
Prelude No.16 (Bb minor) - Five fingers in opposite mov.
Prelude No.17 (AB Major) - The Butterfly
Prelude No.18 (F minor) - The funeral - To my father
Prelude No.19 (Eb Major) - Independence of the fingers
Prelude No.20 (C Minor) - Broke chords (The Ocean Waves)
Prelude No.21 (Bb Major) - The Sunrise
Prelude No.22 (G minor) - The Wind - Gale
Prelude No.23 (F Major) - The Children playing
Prelude No.24 (D minor) - The romance
Prelude No.25 (A Major) - Broke chords in high speed
Prelude No.26 (D minor) - Tempest
Prelude No.27 (Gb Major) - Arpeggios
Prelude No.28 (D Major) - Expression, arpeggios
Prelude No.29 (Ab Major) - The Births flying (double notes)

[guisongs]

Here is the 29 preludes Op.1 in mp3.

[guisongs]

===============
The Nocturnes [18]
===============

The series of 18 Nocturnes, is what I consider one
of the most important works of mine, on the "solo" field.

This is because I was able to "say" most what I need,
and develop my personal style, as well.

The first Nocturnes is more lyrical and the late ones
more technical. Mainly a lied form, after number 12
I developed much more the "B" section giving to that
part more brilliant aprouch.

The Noctunes no.1-12 is caracterized by a very touched
melody, sadness in some, and the contrast between sections
The part "A" is like the exposicion of a word, when the idea come
to life, the calm and quiet invironment; now the part "B"
mostly of time is the convulsion, where the technique become
more complex, like big waves on the ocean, to finish quiet again
(Part A`). Examples of these can be the Nocturne no.3 (Ab major)
and no.4 (C minor) and other Nocturnes too.

Many of the first nocturnes not use this structure, not have strong
contrast between the parts, because the process of develop this goals
was slowly and on the evolution of my "writings" .

Some close friends told me that my goal to change the B part
resulted in a "new approach" Nocturne, to develop the "form"
in my own way.

My goals in fact was make the "B" part more brilliant, bright, and colorful,
instead of the common effect of "darkness" that many feel when
listening this kind of composition.
 
So the first 2 Nocturnes showed here is almost [what in portuguese is called]
"monotematic" (explore just one theme) with a development section on the middle.

Now the number 3 and 4 starts to explore the "B" section
like I explained before.

Op.041 - Nocturne no.01 (D minor)
Op.042 - Nocturne no.02 (D minor)
Op.043 - Nocturne No.03 (Ab Major)
Op.044 - Nocturne no.04 (C minor)

[guisongs]

Any nocturne that you recommend would be nice. Perhaps the one that is closest to your heart.

Thanks, I feel honored that you liked the number 4.
Yes answering your question - I will post my two most early
concertos (Op.54 no.1 [A minor] and Op.86 no.2 [G minor])

And now I already posted 2 important efforts, the 29 preludes op.1
(including the score) and the 4 first nocturnes, performed by me.

I thing this represent a lot of material to study plus the concerto
op.215 no.5 as well

thanks

Guilherme

[guisongs]

Hi guisongs,

I really enjoyed hearing your concerto!  The third movement was my favorite, but the entire concerto is wonderful.  I congratulate you of this very fine achievement. 

You know, when the Modernists came along, they declared that the Romantic Age was bankrupt and finished.  But the Late Romantics like Rachmaninoff, Catoire, Mendtner, Scriabin, Liadov, Liapunoff, Bortkiewicz and others proved that notion of the modernists to be wrong.  And now, there is a whole new movement of Neo-Romantics like yourself proving over and and again that there is still an infinite amount of ideas, themes, passions, beauty, and ecstasy that enables Romanticism to persist and thrive in our time.  It enriches our world and makes it a better place.  Your concerto is a vibrant example of Neo-Romanticism at its best. 

Thank you for upholding the traditions and promises of this musical style that comes from the heart and feeds the soul.

David

Dear David,

Thanks a lot for your words - I posting now the concerto Op.215 no.5, the 29 preludes
and the first 4 nocturnes (mp3 now, I need to produce the pdf after revising
the nocturnes to post it more later, and perfect.)

I feel happy that I have now you and Mr pianoplayjl to look deeply into my music
one thing that - at end - was the reason to me come here.

Hope that I will be able to post a great number of works that can in the same time
be worthy of study, attract attention of pianists looking for new repertory, as well
give inspiration to young generation of composers to have interest in create more
tonal, neo-romantic  music.

[pianoplayjl]

Dear Gui
    I really enjoyed your compositions alot! I read a thread in the AUdition room where it has the rules to audition room. Next time you post a new piece/concerto (which I like) you have to start a new topic. This is what Nils (the Pianostreet administrator/boss) says. Anyway I think this thread is becoming a bit 'populated' and I feel you have to start a new thread anyway. Sorry if I'm being too mean.

[guisongs]

I perfectly understand.

I will not post here anymore.

Thanks again for all

Guilherme.

[pianoplayjl]

Hey Gui
     I like your nocturnes! my favourite is the 2nd one in d minor. I will listen to your preludes and hopefully try to give you some comments in a new thread when you start one.

 

Dear David,

Thanks a lot for your words - I posting now the concerto Op.215 no.5, the 29 preludes
and the first 4 nocturnes (mp3 now, I need to produce the pdf after revising
the nocturnes to post it more later, and perfect.)

I feel happy that I have now you and Mr pianoplayjl to look deeply into my music
one thing that - at end - was the reason to me come here.

Hope that I will be able to post a great number of works that can in the same time
be worthy of study, attract attention of pianists looking for new repertory, as well
give inspiration to young generation of composers to have interest in create more
tonal, neo-romantic  music.

And I certainly hope that too. Your music is very inspirational to me because it proves there are still people out there who want to compose and that the Romantic days are still 'not over'. Yes, I hope your works will be worthy of study in the future, possibly categorized in the 21st century music category in future piano exams. I also hope many of your pieces gain wider attention in the piano community and become part of the standard concert repertoire, especially your concerti, which I admire alot.

[riskarb]

guisongs - your concerto is f*cking awesome..... some thrilling runs/passages that sparked goosebumps on my arm and I enjoyed the little motifs you developed. The world desperately needs romanticism and I'm thrilled you're composing this type of music and reviving the genre.

This concerto is a fantastic achievement and legacy..... you deserve a bigger and broader audience.

- rob