Incredible music as always!

Interesting. What's in your "mixed" clarinet ensemble? Regular Bb for sure, and a bass I think, but what's in between? An Eb?

Excellent. Marvelous ensemble.

Checking in. Excellent work here. You have firm command of this style, Philip.

Hey Philip, what software/VST do you use for instrument synthesis?

egggcellent composition

love this

i like the sonic here puts me in mood of schoenbergs organ variations.

this is awesome, where can I find the score?

I like to visit this little esoteric corner of the interwebs from time to time, it's always different and interesting.

Very enjoyable!

I love the consistency of your channel and titles Philip ; ) you also get well into Messiaen planet here

hoora blud

Very interesting. Reminds me of the Terran brief room from SC1. kzbin.info/www/bejne/iamWdnesZbp5qsk

Great stuff man, really enjoyed this.

Gio teases us in his content minded podcast by using just a few scant bars of this piece in his intro. Hearing the rest for the first time and I’m very impressed. As Mozart probably never said but was a line in the movie Amadeus, when he is questioned about the number of notes in one of his compositions Mozart remarks that “There are just as many notes, Majesty, as are required. Neither more nor less”. I believe you have done the same, neither one note more, or less, is required. And no matter how much I’d like to have a piano join in the quieter passages somewhat like Michael Tippet’s piano concerto two thirds into the final movement when piano and celesta duet before the recapitulation, I know that those notes would be surplus to requirements, and that’s why you are the accomplished composer and I am the humble listener. Bravo !

Keep up the good work!

Very Dead Can Dance!

the pallette of sound I associate with passages in schoenbergs second chamber symphony is felt here to winning effect.

stormin with Becki Zinksi Pills

Gorgeous work, especially loved 0:48

you got the doom harp samples going!

I love this :)

Cool orchestration.

Soothing sounding.

Definitely horror film music.

Who wrote this

😮 Should be on a score somewhere. Somewhat Reminds me of the Pan’s labyrinth atmospheric/folklore type sound.

Bravo, maestro! I was away for the premier because landline Internet and cellular went down in my town. When I got back online by cellular, I had a list of things to catch up on.

These high notes are quite transcendental. I am not quite sure how to explain that feeling. Maybe it is the soft yet airy feeling from them.

i feel in the world of schoenbergs pieces for orchestra, does that resonate with you ?

Would you like to collaborate on some techno music some time Philip!

Beautiful. Recorder is one I've ignored. Never heard a quintet. You've made a lovely sound with these, incorporating them into your recognizable, unfailing style. Remarkable concept. Fine audio. (Painting, too.)

Was this live orchestra?

Awesome!

Interesting...

Fourth in a series of intarsien ("wood inlays") for varied chamber ensemble combinations, here scored for clarinet d'amore, guitar or mandolin, and alto violin. In this "farewell to a distant land of rain," a wide-ranging bel canto melody in the clarinet d'amore reigns as the principal structural element. This melody, constructed from several sweeping chromatic gestures, unfurls in such a manner that its progress, almost like musical prose, constitutes a sort of continual motivic developmental variation. The guitar (or mandolin), entering at measure fourteen, borrows and develops motives from the clarinet d'amore while also providing quasi-contrapuntal accompaniment. The alto violin (tuned the same as a viola) occupies a subsidiary role from the perspective of melody and motive, rather serving a harmonic purpose with its sweet yet almost incessant chromatically-inflected double stops. Though the work's "affect" is largely melancholy and subdued, a brief bellicose episode interrupts before dissipating as suddenly as it first appeared. The work concludes with an obsessive contrapuntal interplay between clarinet d'amore and guitar (or mandolin) on motivic cells derived from the melody, leading to a cadence on a sort of F Hungarian Major pentad. The painting in the video is "Storm Clouds over a Landscape at Sunset" by JMW Turner. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel​ or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

Third in a series of intarsien ("wood inlays") for varied chamber ensemble combinations. Scored for oboe, heckelphone or bassoon, and baritone violin, this scherzo-like movement (title translating to "an antediluvian ruin emerges") unfolds (perhaps, "emerges") from a complex of motives introduced in the first twenty-three measures (the exposition, as it were) of the work (subsequently repeated once). A kind of conversational, quasi-improvisatory energy pervades the work, which despite its focus on counterpoint and developmental variation does not neglect timbre and color as expressive devices and structural parameters. The various motives determining the work's trajectory do not maintain their original intervallic distances, or even their precise contours, but they coalesce into proselike passages that almost breathlessly run into each other. Through a series of accelerandi and ritardandi, tension builds and then releases, with a particularly sardonic passage (undergirded by a pizzicato "subterranean heartbeat" triplet figure in the baritone violin) developing the work's opening motive through sequence against ostensibly "new" melodic material (really derived from the exposition). The coda offers up a "question", soon answered by a modified recapitulation of part of the exposition, followed by a thematically-connected epilogue. Note the unresolved suspension in the final cadence, and the fact that the root of this final harmony (in the baritone violin) is a semitone above the work's first note (in the heckelphone/bassoon). ["Progressive modality" might serve as an appropriate term for the tonal/modal scheme here.] The painting in the video is "Temple of Tanit" by Konstantin Korovin. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

First in a series of intarsien ("wood inlays") for varied chamber ensemble combinations. Scored for alto flute with viola and violoncello, this quasi-rhapsodic tone poem centers on a freely-flowing bel canto melody "sung" by the alto flute, accompanied by relentlessly "sighing" and quasi-contrapuntal "modal-chromatic" dialogue between the strings undergirding the alto flute's soloistic role. Take note of the developmental variation of both the rising/falling/encircling triplet figures and the hemiola motif as the alto flute's melody unfolds in the manner of fortspinnung. More subtle perhaps are the motivic coherencies emerging in the dialogue of the strings. Tonality, suspended throughout the work in a kind of empyreal haze of peripatetic modality and parsimonious voice-leading, does "win out" in the end. The painting in the video is "Landscape" by Nikolaos Gyzis. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel​ or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

kzbin.info/www/bejne/pKjJoJaVos2fhK8

Bravo!

Second in a series of intarsien ("wood inlays") for varied chamber ensemble combinations, here scored for viola d'amore duet. Replete with double stops creating the illusion of a quartet in place of a mere duet, one might best describe "Der liebesgeigende troubador" ("The Viola D'Amore-Playing Troubador") as a lovesick serenade, manifesting a kind of obsessive passion. The long melodic line that dominates the work arises out of a series of (often sighing, sweeping, yearning) motivic cells that undergo "organic" developmental variation, gradually reaching a peak of intensity before attaining luminescent closure. Within the seemingly "endless" melody itself lies a monothematic (yet plurimotivic) sonata-allegro form, albeit operating within a world of extended / suspended tonality and the predominance of "synthetic" modes. The relentless contrapuntal texture and highly chromatically-saturated harmonic scheme (characterized by parsimonious voice leading / chromatic inflections) suggest a maximalist "horror vacui", although the work is not entirely texturally opaque but attains transparency at key moments. The painting in the video is "Twilight Landscape" by Theodore Rousseau. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

First in a series of "sacred songs" for women's choir. This opus begins with a setting of "In paradisum", from the Latin Requiem Mass. The painting in the video is "Daybreak (II)" by Mikalojus Konstantinas Ciurlionis. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

Seventh in a series of fantasies for pipe organ on French Christmas carols. This collection concludes with a study in free counterpoint on a carol from the Languedoc region. The painting in the video is "Jacob and the Angel" by Gustave Moreau. If you enjoyed this, please consider becoming a patron at www.patreon.com/philipdaniel​ or www.subscribestar.com/philip-daniel​ or send bitcoin to 33PpXF2jhiP2hSnL4H4konYWzKpvTsBYpA

And me thinking that my titles were attractive...