guisongs composer continuing posting more works and descriptions (cont.)

[guisongs]

========================================================
guisongs composer continuing posting more works and descriptions (cont.)
========================================================

Dear friends,
I finished to revise the 4 Nocturnes.
So, Here is, now - the scores (PDF)

Thanks again

Guilherme.

[pianoplayjl]

thank you, Guilherme. I like your nocturnes, and they are appropriately named, with a calming mood and soft dynamics, which I like alot. I especially like your nocturne no2 in D minor. 

[pianoplayjl]

I just checked the sheet music for your nocturnes no2 and 3, which are my favourites. no3's music seems very complicated with a thick texture. No2, which is my favourite, the texture is not as complicated but still complex in my opinion. You have a special affinity with minor keys, Guilherme!

[guisongs]

Thanks, also please say thank to Mr Rob, too!

I cannot reply his kindness since I cannot more post on that place.
But I posting here - thanks Mr Rob as well you pianoplayjl.

===============================================
Piano Concertos Op.54 no.1 and op.86 no.2 (A minor / G minor)
===============================================

This is two "brothers" since share the same structure with the
exposition of the themes by orchestra before the piano, etc.

On the no.1, however -  I choose the "Rondo" to finish, and the second
concerto, the Sonata form.

The orchestra here is "classical" so is more small than the last 3 concertos.

This was my first effort to write Piano Concertos, when I was more young.
The language is tonal, and you will see many things that was about to appear
on my late neo-romantic writings: The melodism, some chromatic modulations
to be used on late concertos and the piano language, as well.
Here I work to create constant dialogue between the soloist and orchestra.
And the use of the "tutti" (used as a musical term, for the whole orchestra
as opposed to the soloist) between sections.

This is not a real performance record, but sampled from Sibelius Sounds.
But I tried to make it more human [and not mechanic] as possible. 

As you know, Is very "dangerous" today, you start to write neo-romantic
music, so I had to handle many bad critics but I try to bypass all these problems,
and continue to write my music.

But maybe is interesting to show you some of them.

1) Miss Anny Ku asked me to send some works for 4 hands.
When I visited her web-site I found her writings:
https://concertblog.wordpress.com/2011/08/26/waltz-schroeter

2) My Piano Concerto Op.215 No.5 was recorded by Parma recordings.
Here is one of the reviews they sent me.
https://www.guilhermeschroeter.mus.br/critic.tif

3) My fantasy cited on the Book of Carlos Prieto
https://www.guilhermeschroeter.mus.br/advcello.jpg

5) But if some people want destroy you and your music,
another do the opposite. Encourage you. One that I will never
forget is Merv Hansen. Another is Claudio Ronco.
https://users.libero.it/claudioronco/hand-of-destiny.html

6) Some of my writings on the score exchange
https://www.scoreexchange.com/profiles/guisong

7) This was one review of my Canzonetta OP.163 for Wind Quintet
https://orelitrev.startlogic.com/v1n2/OLR-schroeter.htm

As you can see, is very difficult to "survive" after so many
attacks but as I told you before I prefer to remember the good
ones, always. And when positive reviews come from experienced musicians,
more better and pleased I become.

Merv Hansen a fine musician and Claudio Ronco fine cellist and composer,
was the ones that encouraged me to continue. You can see more reviews from
the "ex." sibeliusmusic.com on the right side of my
Myspace web-site: https://www.myspace.com/guilhermeschroetercompose

Is important to say that the concerto no.5 was recorded too slow, (Parma) especially
the first and third movements, the same as the concerto no.4, by Ermmedia.

Then I got bad criticism because what they did, not me.
After I pay a lot of money, for the recordings, and have recordings that
I cannot use, the only way I found was to fix the tempos back from what I wrote
using one especial software.

So this is the third movement of concerto no.5 (the way they recorded)
https://www.allmusic.com/performance/piano-concerto-in-e-flat-major-juvenile-op-215-5-f2719232

Now listen the concerto 5, the same third movement the way I wrote (fixed)
https://www.guilhermeschroeter.mus.br/conc53.mp3

The same about the concerto 4.
Listen for example the third movement the way they did:
https://www.numusicdirect.com/MW14.html

Now the way that I wrote (fixed):
https://www.guilhermeschroeter.mus.br/conc43.mp3

Obviously, any listener that goes to listen my concertos
in both parma and ermmedia web-sites, will have a wrong
"image" of my music, so slow it is.

This is just two examples of what I have to handle !
Maybe because my origins?
(I have a last name "Schroeter" (german last name) or
my religious beliefs? (I am christian).

I don`t know.

Anyway, I feel that at least I got one opportunity to have my music
recorded, and this is positive !

My father was Evangelic Lutheran and my grand mother Catholic.
I don`t remember to be in church frequently when I was young,
in Saint Mary, as well when I move to Rio de Janeiro.

Anyway - my aunt did some research about Schroeter musicians
at Groove Dictionary and found some composers like Johann Samuel Schroeter,
contemporary of Mozart and Johann Christian Bach.

Johann Samuel Schroeter is considered the first "composer-pianist" in the modern
sense of the term, since he composed mostly for Piano.
Mozart liked his concertos, and wrote some cadenzas for them.

Here is a rare Video showing me as a pianist. I playing
Johann Samuel Schroeter`s Piano Concerto Op.3 No.3 (C Major),
in Santa Maria, the city where I lived some years - in Brazil

I got the score for small ensemble when I was in Seattle,
and when I return home I arranged the score to strings.

The orchestra is Saint Mary University Youth Orchestra
On my side, my mother, Maria Helena Didier, fine teacher and pianist

https://www.guilhermeschroeter.mus.br/conc01.rm
https://www.guilhermeschroeter.mus.br/conc02.rm
https://www.guilhermeschroeter.mus.br/conc03.rm

I also wrote the cadenzas (first and second movement) for this concerto.

(www.realaudio.com)

[pianoplayjl]

Thank you for posting your 2 other concerti! I certainly shall have a listen and see whether the others are right about it being a bit unsatisfactory. So far listening to your other concerti they are definitely wrong. Your concerti are good!

BTW, How long does it take you to composer a concerto? and plz post some notes on your concerti, as you often do. 

[pianoplayjl]

Ahhh sorry about the reply above as I hadn't seen you modify your post and thx for your notes on the concerti! They really do sound great! I'll try posting some comments when I've heard it a few times.

[guisongs]

First let me thank you anoplayjl  rachfan and riskarb
for your kindness regarding my music!

After show all my concertos, and a brief description of each one,
I thing can be a good idea post and analyse all the remain 14 Nocturnes
since is what I consider one of my great works.

In general, my most important works for piano are represented by these forms

- 18 Nocturnes
- 5 Etudes
- 1 Ballade
- 6 Fantasies
- 6 Rhapsodies
- 1 Theme and 7 Variations
- 1 Impromptu
- 29 preludes Op.1
- 3 Poetic preludes
- 2 Sonatas
- 1 Scherzo
- 2 Waltzes
- 1 Prelude and Fugue
- 1 Toccata
- 3 Suites
- A series of Descriptive music

So after I post the first 4 Nocturnes
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

Now I posting the Nocturnes 5-8 in mp3
and later the scores.

============
NOCTURNES 5-8
============

Both of these nocturnes follow the basic
lied form but with some alterations.

The no. 5 I try to extend the form - a very sad melody;
is almost lied form, but with secondary themes I use to
create tension and a climax before the reexposition of the
main theme and conclusion (D minor).

The number 6 is, maybe, the most complex from all this group,
where the melody shines while broke chords and arpeggios creates
a constant changes of harmony using arpeggios and in some
parts in opposite movements (C Major).

The number 7 is, maybe, the more brief Nocturne, very sad melodic
and elegiac with some tension in the middle; (G minor)

And finally the number 8, is a simple melody with accompaniment.
The "B" part creates tension and climax, before return to "A",
main theme (G minor).

Nocturne for Piano op.45 no.5 (D minor) - Performed by me
Nocturne for Piano op.47 no.6 (C Major) - Sampled
Nocturne for Piano op.52 no.7 (G minor) - Performed by me
Nocturne for Piano op.73 no.8 (G minor) - Performed by me

[pianoplayjl]

I'm pleased to hear that you went through tough periods when you faced bad ciritcism. Not only have you risen from the ashes to compose great works, but also perfected them.
your Nocturnes are sounding great. I think the main highlights are really your concerti in my opinion. No matter how bad or good they are in people's opinions, composing a concerti is one enormous feat not for the faint hearted and you've certainly done a good job. Are there any compositions that have loud sections? if so, that would be great because some characteristics of romanticism are contrast in dynamics and mood, which you have achieved. Sorry if my comments are too harsh. Remember, you are a valuable asset to PS and there is always improvement in your compositions. There is no perfect composition.

[guisongs]

Thank you for posting your 2 other concerti! I certainly shall have a listen and see whether the others are right about it being a bit unsatisfactory. So far listening to your other concerti they are definitely wrong. Your concerti are good!

BTW, How long does it take you to composer a concerto? and plz post some notes on your concerti, as you often do. 

Depends of many of factors, like the inspiration to build the basic ideas,
the estructural project and form used. The mood is very important too.
So, in general, large-scale music like concertos demand much more time.
Is not only about create the ideas, but also how to organize that ideas
in a way that all sections interconnects to make the whole thing uniform.
Then you have to find ways about how the orchestra "reacts" to the piano,
creating Intros, dialogues, the "tutti" and between expositions and reexpositions
of the 2 themes + development section and codas - to build a "Sonata"
In a concerto, [at least in my point of view] both, orchestra and piano, must
share the themes, in a way that make sense in terms of the "whole unity" of the
work.On the Concerto op.86 no.2, I try innovate, like put the development section
into the "cadenza".

[guisongs]

Nocturnes 5-8 (Sheet music) - PDF

[pianoplayjl]

Depends of many of factors, like the inspiration to build the basic ideas,
the estructural project and form used. The mood is very important too.
So, in general, large-scale music like concertos demand much more time.
Is not only about create the ideas, but also how to organize that ideas
in a way that all sections interconnects to make the whole thing uniform.
Then you have to find ways about how the orchestra "reacts" to the piano,
creating Intros, dialogues, the "tutti" and between expositions and reexpositions
of the 2 themes + development section and codas - to build a "Sonata"
In a concerto, [at least in my point of view] both, orchestra and piano, must
share the themes, in a way that make sense in terms of the "whole unity" of the
work.On the Concerto op.86 no.2, I try innovate, like put the development section
into the "cadenza".

Thank you Guilherme! may this advice serve as a stepping stone to composing concerti for wannabe composers on PS! I've certainly been noticing some conversations going on in your concerti. If you're working on your 6th, take your time and go over it over and over again and add some and take some away if it works in your concerto.

[pianoplayjl]

I have to say I'm right now listening to your 2nd piano concerto and I think it's not bad. I like your concerti and preludes. I'm not saying your nocturnes are bad, though! keep posting.

[guisongs]

Thank you Guilherme! may this advice serve as a stepping stone to composing concerti for wannabe composers on PS! I've certainly been noticing some conversations going on in your concerti. If you're working on your 6th, take your time and go over it over and over again and add some and take some away if it works in your concerto.

I am not working in anything new, simple because here in los angeles,
i dont got any opportunity.

As you know I don`t have agents or managers since the control of these
is on hands of people that don`t want me "grow" but just destroy me.

I tried to give you signals of these and I named them.
My last hope is internet and places like that, and pray that
I can find honest and good intention people to help me find opportunities
for my music

I simple don`t find more energy to work hard for nothing.

When I tried, like ermmedia and parma, i was deceived and betrayed.
Now you saw what Anny Ku did on my Waltz.

They are together, the goal is destroy my name and reputation.

But I am in peace of my conscience I do my job and duties in music.

Guilherme

[pianoplayjl]

Yes this world is full of decieving people and jealous people and sinful. Indeed one of the last resorts is the internet. However the internet is just as sinful as in some people who post and lurk in the internet. I'm not one of them however. There is always hope! don't give up!  I think your compositions are so marvellous that they are enough to arouse jealousy of others. which means that you are too good a composer. Surely one day I will learn of your compositions.  As I said before, keep posting and persevere. One day alot of people will listen to your compositions on PS. Don't stop posting. I'm yet to post a useful comment. Though I'm non religious, may God's grace be with you and may luck strike you soon!

[guisongs]

What is important to me is what Merv Hansen, Mr Ronco riskarb rachfan
and you wrote about my music.

They cannot null this. and also they cannot null by biography
my first national award with 16 years old.

They cannot null that fact that I prove that i wrote a composition
with 9

The fact that I have awards as a classical pianist, classical composer
and pop composer. In another words, I succeed and they don`t like it!

They feel angry because that. So they need attack me and destroy
my reputation. They cannot accept that a gentile (inferior in they won words
[see vandor company web-site down here - I admire them, for their courageous
to tell the truth ) can succeed

They are behind all midia, TV, Hollywood, Record companies, BMI, and
ASCAP. They help each other, but not you - anyways all depends of your
genealogy. They pay people to destroy you. Like hyenas they wait the best
moment. When you are not in guard. Like the woman pianist, offering me
to "promote" my Waltz. Now you see what she wrote about my music.
And the wordpress web-site backing up her. I cannot ever post
a commentary to defend myself.

Please trust me, this kind of things, is happen for long time
with me. This happened on sibeliusmusic.com
Have a forum there. People from that forum started to post
one review after another attacking my music.
They started saying that my music is "pastiche"

If you don`t know, pastiche means A work of art that imitates the style
of some previous work

Then you try become a member of web-sites like composer forums
and pay for it, only to discover that they are not advertising
your profile like they do with "others".

Sometimes they come to you and "invite" you to do business with them.
The you pay thousand of dollars just to discover they are doing
fake recordings and advertising that fake recordings to prejudice you.

They earn the monay, and destroy you. What you get is dispend monay
and have a recordings that you cannot use.
Remember my friend, you will see my music in many places, from ermmedia
and parma recordings.

But this is the "bad advertising" since, as a told you, the concerto 4 and 5
almost was recorded slow.. so they are damaging my name, and getting the money.

I never received any profits from that sells until now.

The idea is perfect, take your money, record your music badly,
then come the "critics" to criticize the bad recordings that they did...
Are you follow me?

Now look this
https://www.vmgworldwide.com/anti-goyim.htm
https://www.vmgworldwide.com/LiarsAndThieves-MSpoddig.htm
https://www.vmgworldwide.com/

Now the reason why the are angry with me:
I am good, competent and accomplished
and I am european american and christian

Thanks very much for your friendship

Guilherme

[pianoplayjl]

I could only read the Anne ku  article but I can already tell that she is a mother!@#$ing !hole. forgive my profanity, but she seems to be in a world of herself. Clearly, is music all about technical display? hell no. And she obviously did not comment on the goodness of your waltz duet because she is a faggot. Music is also about musical and emotional display. I hardly think she would have brought those in as well in the first playing. Absolutely barbaric comments. An arrogant personality who does not regard the musical quality of a composition, only the technical qualities. Forgive my profanities, Gui, but this is my anger that I direct towards her and she obviously does not even deserve a name, let alone a reputation as a pianist. !@$&her. Despite all the criticism and loopholes from the companies, there is one positive thing you can learn: that they are very very jealous that you have a good composing ability, one many would die to have. You have a gift. Obviously I'm only a teenager still in school but still I can watch from the sidelines and cheer you on.

Once again, keep posting because you are a valuable resource to PS and sorry for all the profanities.

JL

[guisongs]

I appreciate your support  - many people gave me ideas to help me regarding situations like that. But I can"t help but come to the conclusion that she is what you told.
I cannot describe one action like that, a deliberate "bad advertising" of my work.
Please not the she uses my name as a "SCHROETER"  and not Guilherme Schroeter,
just to accent the fact of my german genealogy.

And after that fact that she promise me "promote" my music, after I told her about
my sufferings and difficulties to find place for my music.

Of course she was oriented to do what she did.

Then you have one idea how the artistic world works, if you are not
part of certain "inner circles".

I want to share you what I did in pop -  also.
Heaven on earth, a song that got many nominations and awards, is a
inspirational song. To call for peace in the world.

Heaven on earth awards, nominations
https://peacemusiccommunity.ning.com/forum/topics/announcing-the-2009-first
https://www.songwriteruniverse.com/contestwinner66-123.htm
https://www.musesmuse.com/pressrelease.20080430.1209598573.html

Also, I posting here some Movie themes, ideas that  I did
with intention to be used as a soundtrack to films.

The 3 themes Op.15 is a solo piano themes, very romantic,
and number 32 and 6 is for Piano an Ensemble orchestra
following the same style: romantic.

The pop example and the film examples, is to show you
my versatility to work in some different fields, no only in
classical.

[guisongs]

On the last contest (https://www.musesmuse.com/pressrelease.20080430.1209598573.html)
you will see written "Haven on earth by Olatunji Talabi"

This is because my co-writer become too "ambitious"
when he discover the potential of the song, that he want
all to him, and nothing to me. (...)

In fact, he participated of this contest and never let me know.

I discovered this robbery because I researched on internet
so, in fact he not only got the award without split with me
(and never let me know /very clever isn`t?) but also he "forgot"
to give credit to me (music part)

This after begging me years ago - writing one e-mail, to
help him making the music for his lyrics...for free...  to change the world.
The world not changed, but him... for the worst (...)

The bad people is winning... and good honest and ethic based people is losing

[guisongs]

I'm pleased to hear that you went through tough periods when you faced bad ciritcism. Not only have you risen from the ashes to compose great works, but also perfected them.
your Nocturnes are sounding great. I think the main highlights are really your concerti in my opinion. No matter how bad or good they are in people's opinions, composing a concerti is one enormous feat not for the faint hearted and you've certainly done a good job. Are there any compositions that have loud sections? if so, that would be great because some characteristics of romanticism are contrast in dynamics and mood, which you have achieved. Sorry if my comments are too harsh. Remember, you are a valuable asset to PS and there is always improvement in your compositions. There is no perfect composition.

"loud sections" you mean, some contrasts."
This I explained before, look the old texts.
The third and fourth Nocturne have no only a lot of "loud"
parts like you say - but also creation of tensions and climax.

The number 1 and 2 is monotematic, I did that way intentionally.
But is not all the time "piano" , but the middle section have
a lot of moments of tension too.

[pianoplayjl]

This world is populated by bad people-those who want power and money. And as you Christians might say: greed, one of the 7 deadly sins. Your music is among the finest I've heard in the 21st century and your name obviously deserves a place among the great hall of composers, those who suffered to gain recognition. your story is worthy to be heard and spread. Your music, I pray to God, I hope, will become a commonplace repertoire, at least your concerti. YOu must continue to post for the sake of yourself and others who want to hear, like me. Find your inner strength.

At the end of the tunnel, there is light.

"loud sections" you mean, some contrasts."
This I explained before, look the old texts.
The third and fourth Nocturne have no only a lot of "loud"
parts like you say - but also creation of tensions and climax.

The number 1 and 2 is monotematic, I did that way intentionally.
But is not all the time "piano" , but the middle section have
a lot of moments of tension too.

Sorry, that's what I meant. It had some tension, which I like.

[willy piano player]

Congratulations guisong for your body of work.