Wachet Auf paraphrase

[themeandvariation]

Hi

Here is one just completed.  Here i try to employ some fugal and canonic devises..At the end of the first section, there is the first part of the theme played along  with the last part of the theme - in another voice.. The piece then morphs employing the minor key as the backdrop for the theme.
My intent was to start somewhat close to the original 'spirit' of the piece… and then let my own compositional/stylistic tendencies gradually take over.. (the attempt being that  it sounds 'old' and 'new' in the same piece…
The end chord is unresolved to allow the attachment of another variation, if i can figure an appropriate continuation.

 I am especially curious to hear from others who like to write/play paraphrases.
Thank you for listening!
Theme..
https://soundcloud.com/gregoriox88/wachet-auf-3a2

[michael_sayers]

It is very well done, inventive and resourceful! 

I don't have any technical analysis or anything like that - it isn't my way of getting from point A to point B - but it is quite unique and with quality.

[michael_sayers]

Maybe you can post it at Composers' Forum.  I asked once about sharing transcriptions there, and they said it is fine as long as a degree of inventiveness keeps it from being a "pure" transcription.  Definitely this work of yours meets that requirement!

[ronde_des_sylphes]

Hi, I thought it was well done and had some good moments. Not how I would have done it, but that's not relevant - you should be encouraged to develop your own style, in accordance with your musical personality.

I fully agree with an initial statement of thematic material that is fully recognisable as the composer's original; then you can do whatever you want with it, as long as it is musically and structurally coherent. The use of a contrapuntal section was a good idea, bearing in mind the source material. In a wider context, I would be picky about using such techniques - for example Thalberg used it in some of his early operatic paraphrases, and there I felt it sounded a bit out of place.

If you want to write more such arrangements, you will have to think about
a. how "free" you are allowing them to be
b. if they are to be on one piece of thematic material, you are in effect really writing in the theme and variations form and thus you will need to deploy standard mechanisms of contrast: mood, dynamics, major/minor etc., especially if the piece is to be of significant length (I noted your contrasts in this arrangement!)
c. if they are to use multiple themes, do you bring them in in the chronological order they appear in the original, or do you select order of presentation in terms of musical/compositional convenience? Structurally I find that it helps with cohesiveness in longer paraphrases to use contrasting themes, intersperse one with the other, then bring the other back, to give an example AABBAABA form or similar. I like to use cadenza-type interludes as one type of mechanism for switching between themes (transitional passages). I can't remember which composer said that transitional passages are the hardest to write convincingly, but I do normally spend more time over them than on manipulating themes!

In any case, just a few thoughts there, from my personal experience writing them. However, as I said earlier, I would encourage you to develop your own musical vocabulary and style. Good work!

[dcstudio]

Sleepers Wake! -- I walked down the aisle to this one on my wedding day so so long ago.  This is among my absolute favorite Bach works--  this entire cantata is gorgeous.  It's only played at church when Easter comes early--the wedding parable--yeah...been a while since Sunday school.

nicely played--the musical elements sound removed from Baroque style in some places which is fine...  wow...pretty dramatic -- your sleepers are awake for sure.  lol  I like this...  I would have never thought to play it in this way as this piece has a definite solemn yet very moving emotional memory for me.  

I especially liked the ending... it's expected... and totally not... cool.

[themeandvariation]

Michael,
Thank you for listening.. I very much appreciate your comments. Aside from analyses, as you mention,  I just want the piece to stand on its own regardless of the logic used.. So I am quite happy with your 'natural' response.

Ronde, thanks for going into the ideas of structure… It has caused me to think about the term 'paraphrase' as it has been used a bit more… Because I used contrapuntal technique for much of the time, and also that the piece doesn't have much in the way of virtuosity - {though some  }  (which i find mostly characterizing  the paraphrases employed with 19th century 'romantic style) - i feel that paraphrase is perhaps not the best definition.. Maybe a Fantasy would be more apropos - as V. Williams did with the Tallis theme, etc… They are though just 2 variations on a theme that are connected.  Thank you for listening and the encouragement!

DC..  This cantata has a special place in my heart as well.. It is simply a masterpiece… So beautiful.  I recently heard an incredible recording of it - so perfectly done..
full cantata  with score by Harnoncourt...

Thank you for your kind words.. Yes, in a way i wanted the baroque style to somehow appropriate (or hopefully, absorb) some of the language of the styles that followed..
And yes, I did want a few parts - especially at the end of the first section, to make a kind of bombastic 'Sleepers, Awake!' plea..    (plus it was fun to have an excuse to do so 
Thank you for appreciating  my take on it!

[michael_sayers]

Michael,
Thank you for listening.. I very much appreciate your comments. Aside from analyses, as you mention,  I just want the piece to stand on its own regardless of the logic used.. So I am quite happy with your 'natural' response.

Ronde, thanks for going into the ideas of structure… It has caused me to think about the term 'paraphrase' as it has been used a bit more… Because I used contrapuntal technique for much of the time, and also that the piece doesn't have much in the way of virtuosity - {though some  }  (which i find mostly characterizing  the paraphrases employed with 19th century 'romantic style) - i feel that paraphrase is perhaps not the best definition.. Maybe a Fantasy would be more apropos - as V. Williams did with the Tallis theme, etc… They are though just 2 variations on a theme that are connected.  Thank you for listening and the encouragement!

DC..  This cantata has a special place in my heart as well.. It is simply a masterpiece… So beautiful.  I recently heard an incredible recording of it - so perfectly done..
full cantata  with score by Harnoncourt...

Thank you for your kind words.. Yes, in a way i wanted the baroque style to somehow appropriate (or hopefully, absorb) some of the language of the styles that followed..
And yes, I did want a few parts - especially at the end of the first section, to make a kind of bombastic 'Sleepers, Awake!' plea..    (plus it was fun to have an excuse to do so 
Thank you for appreciating  my take on it!

Thanks for sharing it here!