0:06 - The Forest At Dawn 05:22 - Summer's Evening 07:47 - Prelude 10:05 - Scherzo 12:33 - Daybreak 15:17 - A New Day 17:31 - Interlude 19:32 - Nocturne 22:59 - Taking Flight 26:12 - Funeral March 30:22 - Epilogue 33:05 - A Hero's Journey 36:33 - Mysterioso 39:07 - Thief In The Night 41:17 - The Battle
As I started listening I heaved a huge sigh of relief. The world is starting to be relieved of the clutches of the Zimmer era thump thump music with ostinatos and taiko drums and program patches. Congrats Rahul on achieving the craft of our masters...the orchestration is exquisite. Your heroes are the same as mine, JW, Ravel, Mahler and Debussy. Besides Ravel and Debussy I hear a lot of Richard Strauss influence in your music Thanks YT for showing me this channel!
I am absolutely fascinated by your work ! This is probably the most well written classical music from a modern composer I have ever heard.... This is braethtaking.
Wow, this is incredible! A beautiful modernisation of familiar sounds from past renowned composers. This is a breath of fresh air in today's increasingly oversaturated contemporary and 'film score' music scene. Ka Pai!
What a breath of fresh air. I've only just started listening but your control of texture and harmony is evident. The introduction feels very ravelian in its melodies and orchestration, which I enjoy.
This is awesome work! The Nocturne has some direct Mahler references that really made my ear perk up. Gorgeous writing overall - I love your sense of harmony and color. Thanks for sharing!
Only posting this because of this "hype it or shut up" vibe I'm getting in the comments. Too common on RUclips these days, and it lets you forget criticism isn't hating. To be clear, it is a good composition, and I can sense the hard work behind it. Maybe it's just that I don't like the common Hollywood style of most modern compositions. But to me, this is a mere soundscape that lacks really characteristic moments. I would have wished for more distinctive themes of effects like in Debussy's "Preludes". Now hate me all you want. And of course, if you really like this suite, tell the world 🙂.
Yes, it’s well orchestrated, and has a very pleasant late romantic/early impressionistic sound, but in the end it’s largely a pastiche. Perhaps most tonal pieces nowadays will necessarily be so. The orchestration skills are certainly evident; and the composer may find a unique voice in time?
Nice work. Very English - reminiscent of Delius in some ways. Aptly titled as symphonic interludes, and skillfully orchestrated. Thank you for sharing.
La musique est salutaire quand elle suscite une émotion ou une humeur en vous. il ne s'agit pas nécessairement d'être mélodique, religieux ou ouvertement musical, mais plutôt de transporter l'auditeur quelque part où il n'était pas avant. Dans ce cas précis, j'ai l'impression d'être assis sur un banc de cimetière par une tiède soirée. Le vent me caresse doucement le visage, et tout est silencieux à part la nature qui m'entoure 🤗
I'm a composition student in Bethlehem, PA, and I just wanted to tell you that your work has helped me break through my writer's block and introduce new compositional ideas/techniques into my vocabulary. You truly are one of the greats of our time. This is all VERY well done, congratulations on writing pure beauty and masterful, awe-inspiring sonic soundscapes! Where can I buy a score???
This is really awesome! Feels like a mix of impressionist, romantic and the golden/silver age composers wrapped into one. Also, is the nordic music society a specifically-recording-only ensemble? Let us know if you have any live concerts in London. Would love to listen live.
Thanks! Everything you hear in this video is a VST virtual midi instrument there’s no live recording, and the Nordic Music Society is a record label that has subsidiary labels for neo-classical, electronic, pop etc. but they’re not specifically recording only I’ll be sure to post an announcement for any London performances 👍
It's lovely, but you do know D-flats aren's evil, right? Same goes for A- and C-flats. It makes many of the lines much harder to undestrand from a harmonic perspective as a performer and a person reading the score when normal triadic chords are spelled with random enharmonics. But the music itself really is very nice, and I hope someday to hear it live
23:07 sounds a lot like Tod und verklarung opening. A bit later I hear a lot of Ein Heldenleben, Not a criticism at all. You reproduce the textures amazingly well with your own touch.
I sincerely congratulate you on the composition of this suite, I really enjoyed the use of orchestral textures and the combinations between the various instruments. May I ask what notation software you use to write the scores, and what House-style? (At a glance I notice a similarity with the 'Academico' font, which is part of the 'Norfolk' House-style compatible with Sibelius and Finale but I may be wrong...) Greetings from Italy
@@hippolytabaker9559 the full album will be available on all streaming services very soon (next few months) we’re just ironing out some issues with our distributor
«Everything you hear in this video is a VST MIDI virtual mock-up, there is no live recording». Sounds like a real orchestra. Which program or instrument library did you use? :S
Beautiful piece, it's clear you've been influenced by a lot of impressionism; I could hear echoes of Stravinsky's Firebird, Ravel's Daphnis and Chloe and some Debussy as well. To give you a few bits of constructive criticism: Regarding the notation, sometimes the accidentals you use make little sense. For instance, at the beginning of the Scherzo, bar 3: why is there an a-sharp and b-flat in the same chord? Makes no sense in the chord (gm6). Another example from the beginning, bar 18, first violins: why write b-flat - g-sharp - b-flat instead of a-flat? Incidentally, four bars later at the repetition of the phrase, you notate it "correctly". There are many, many, many more of these inconsistencies and unusual accidentals throughout the piece (up until the very last chord, which is an A-flat major chord, but you spell it as g-sharp with a c instead of a b-sharp!?), and they will most likely put off some players and confuse them, which is always a bad thing because they should focus only on the music itself. Also, it'd be preferable to use no key signature throughout the piece. The way you did it, the transposing instruments still get a key signature, which is useless since your piece is not tonal in the traditional sense. Just a little detail. At the beginning of the funeral march, you write "10 celli a4" twice. First of all, that's a huge orchestra you have there, but also, 10 is not divisible by ten. Maybe it's just me, but how are the celli supposed to distribute the notes between themselves? It's doesn't seem clear. That is all just notation-wise, I picked out a few things I would definitely fix so the musicians don't stumble over them when they (hopefully) premiere your suite one day! Regarding the music itself, I don't have much to say. The harmonies are beautiful and rich, with sometimes poignant dissonances in between that fade quickly. The orchestration is very colourful, imaginative and film score-like, it's clear you know where you want to go with it. The structure feels very free although it seems like you know what you're doing, you exceed in making the music feel very fluid but also employ enough repetition and similar techniques to make the pieces feel coherent. The only thing I would criticise here is that fifteen movements is just too much for a suite, that somewhat hurts the piece's perceived cohesiveness - I think I'd prefer a piece with just, let's say, four or five, slightly longer movements; perhaps it would be easier to make the movements seem connected there. It's not my preferred style of music personally, it's a bit too much "make-up" and too little "substance" - but please don't take that too harshly, it's simply a matter of taste. And for anyone who likes impressionists like Ravel and Debussy, I'd definitely recommend this suite. Keep up the good work!
Undeniably beautiful music. But I feel compelled to ask : what is it all about ? There seems to be an all-pervading aimless quality to it. What is all this superbly crafted music for, and where is it going ? What is it trying to say ? Stylistically, it is clearly massively indebted to Ravel and Prokofiev. In terms of its genre, it seems to only make sense as film music. It is episodic, and not symphonic - it ends up going nowhere despite all its soul- searching.
Ah.. the joys of writing music for digital libraries, not having to think one moment whether it is practical to perform. Qadruple Winds, 8 Horns, constant splitting of desks in the violins that make it look like this is best played with 8 desks in both first and second violins. 2 Harps, Celesta, Piano. Surely Orchestras around the world can't wait to spend all the money on those extra players, just to play music by some unknown impressionist pastiche composer. ;) But it sure sounds nice.
@@JumpAttackKingimitation is the most sincere form of flattery. Does all music have to be groundbreakingly original to be necessary? Maybe the composer just wanted to make what he enjoys.
That being said, I wouldn't call this a great work. I personally enjoy the sound and orchestration, however I don't hear any distinct, memorable themes or melodies, nothing that challenges me as a listener.But it has its uses, for example as background music when you want to study because it doesn't demand my full attention.
0:06 - The Forest At Dawn
05:22 - Summer's Evening
07:47 - Prelude
10:05 - Scherzo
12:33 - Daybreak
15:17 - A New Day
17:31 - Interlude
19:32 - Nocturne
22:59 - Taking Flight
26:12 - Funeral March
30:22 - Epilogue
33:05 - A Hero's Journey
36:33 - Mysterioso
39:07 - Thief In The Night
41:17 - The Battle
As a (budding) composer myself, this makes me jealous. I need to catch up a lot. Great work, Rahul! 🎉🎉🎉
As I started listening I heaved a huge sigh of relief. The world is starting to be relieved of the clutches of the Zimmer era thump thump music with ostinatos and taiko drums and program patches. Congrats Rahul on achieving the craft of our masters...the orchestration is exquisite. Your heroes are the same as mine, JW, Ravel, Mahler and Debussy. Besides Ravel and Debussy I hear a lot of Richard Strauss influence in your music Thanks YT for showing me this channel!
...where is Mozart?...
This is so beautiful. What a masterpiece!!!!
I am absolutely fascinated by your work ! This is probably the most well written classical music from a modern composer I have ever heard.... This is braethtaking.
Wow, this is incredible! A beautiful modernisation of familiar sounds from past renowned composers. This is a breath of fresh air in today's increasingly oversaturated contemporary and 'film score' music scene. Ka Pai!
this is literally one of *the best* orchestral works I have EVER heard, hands down. why does this channel not have more attention?!
Gorgeous. Your style hits all my favorite styles. Well done. I don't know how you have the patience to make such detailed mockups but hats off to you!
What a breath of fresh air. I've only just started listening but your control of texture and harmony is evident. The introduction feels very ravelian in its melodies and orchestration, which I enjoy.
The extended techniques are so fresh!!!!
This is awesome work! The Nocturne has some direct Mahler references that really made my ear perk up. Gorgeous writing overall - I love your sense of harmony and color. Thanks for sharing!
I also really enjoy your Mahler 2 finale reference in VIII Nocturne!!!
Simply beautiful and well crafted❤
Very nice the mahlerian nocturne. In general very great work, GG.
Sounds incredible! It would be wonderful if you could please share a video on the production process as well.
I'm absolutely flabbergasted by this mockup
same
Only posting this because of this "hype it or shut up" vibe I'm getting in the comments. Too common on RUclips these days, and it lets you forget criticism isn't hating.
To be clear, it is a good composition, and I can sense the hard work behind it. Maybe it's just that I don't like the common Hollywood style of most modern compositions. But to me, this is a mere soundscape that lacks really characteristic moments. I would have wished for more distinctive themes of effects like in Debussy's "Preludes". Now hate me all you want. And of course, if you really like this suite, tell the world 🙂.
Yes, it’s well orchestrated, and has a very pleasant late romantic/early impressionistic sound, but in the end it’s largely a pastiche. Perhaps most tonal pieces nowadays will necessarily be so. The orchestration skills are certainly evident; and the composer may find a unique voice in time?
If we lived in a perfect world, *every major orchestra* would be tripping over each other for the honor of premiering this suite.
Definitely !
Gosh imagine the Berlin Philharmonic or the Vienna Symphony Orchestra doing this live.
Nice work. Very English - reminiscent of Delius in some ways. Aptly titled as symphonic interludes, and skillfully orchestrated. Thank you for sharing.
Well done!
This is great work!
Dude this is beautiful!
This was great, keep up the good work!
Nice work! It's classic, but at the same time it's contemporary
La musique est salutaire quand elle suscite une émotion ou une humeur en vous. il ne s'agit pas nécessairement d'être mélodique, religieux ou ouvertement musical, mais plutôt de transporter l'auditeur quelque part où il n'était pas avant. Dans ce cas précis, j'ai l'impression d'être assis sur un banc de cimetière par une tiède soirée. Le vent me caresse doucement le visage, et tout est silencieux à part la nature qui m'entoure 🤗
Glory
I'm a composition student in Bethlehem, PA, and I just wanted to tell you that your work has helped me break through my writer's block and introduce new compositional ideas/techniques into my vocabulary. You truly are one of the greats of our time. This is all VERY well done, congratulations on writing pure beauty and masterful, awe-inspiring sonic soundscapes! Where can I buy a score???
This is really awesome! Feels like a mix of impressionist, romantic and the golden/silver age composers wrapped into one. Also, is the nordic music society a specifically-recording-only ensemble?
Let us know if you have any live concerts in London. Would love to listen live.
Thanks! Everything you hear in this video is a VST virtual midi instrument there’s no live recording, and the Nordic Music Society is a record label that has subsidiary labels for neo-classical, electronic, pop etc. but they’re not specifically recording only
I’ll be sure to post an announcement for any London performances 👍
@@rahulgohilcomposer very nice! What libraries did you use? Amazing mocking up skills!
.....same goes here for Acapulco.....unlikely? Y'never know!
Really amazing! bravo. Could you tell us the libraries you used in this suite please?
It's lovely, but you do know D-flats aren's evil, right? Same goes for A- and C-flats.
It makes many of the lines much harder to undestrand from a harmonic perspective as a performer and a person reading the score when normal triadic chords are spelled with random enharmonics.
But the music itself really is very nice, and I hope someday to hear it live
This is great! which VST's are you using?
I like these pieces, rahul!
Can you please put a link to the full pdf score?
I really want it!
23:07 sounds a lot like Tod und verklarung opening. A bit later I hear a lot of Ein Heldenleben, Not a criticism at all. You reproduce the textures amazingly well with your own touch.
I sincerely congratulate you on the composition of this suite, I really enjoyed the use of orchestral textures and the combinations between the various instruments. May I ask what notation software you use to write the scores, and what House-style? (At a glance I notice a similarity with the 'Academico' font, which is part of the 'Norfolk' House-style compatible with Sibelius and Finale but I may be wrong...)
Greetings from Italy
Have you considered making this an album and putting it up for sale on Bandcamp? I would buy it in a heartbeat.
@@hippolytabaker9559 the full album will be available on all streaming services very soon (next few months) we’re just ironing out some issues with our distributor
Hello! Hope you are good. How did you achieve a sound like this? You used those VST on Sibelius/Dorico or how? Thank you.
I hear some references to The Planets, Daphnis and Chloe and Mahler 2 ;)
and Richard Strauss too! This seems inspired by all the masters, not bad people to mimic at all!
quite delicious.....
«Everything you hear in this video is a VST MIDI virtual mock-up, there is no live recording». Sounds like a real orchestra. Which program or instrument library did you use? :S
Per the description, there is no live recording. But how do you achieve this level of realism when using VST MIDI instruments?
Just listened few snippets, sounds great what libraries?
Is this a homage to Ravel? I hear literal quotes from Daphnis and Chloe, Valses nobles et sentimentales...
What VST have you used here?
Beautiful piece, it's clear you've been influenced by a lot of impressionism; I could hear echoes of Stravinsky's Firebird, Ravel's Daphnis and Chloe and some Debussy as well. To give you a few bits of constructive criticism:
Regarding the notation, sometimes the accidentals you use make little sense. For instance, at the beginning of the Scherzo, bar 3: why is there an a-sharp and b-flat in the same chord? Makes no sense in the chord (gm6). Another example from the beginning, bar 18, first violins: why write b-flat - g-sharp - b-flat instead of a-flat? Incidentally, four bars later at the repetition of the phrase, you notate it "correctly". There are many, many, many more of these inconsistencies and unusual accidentals throughout the piece (up until the very last chord, which is an A-flat major chord, but you spell it as g-sharp with a c instead of a b-sharp!?), and they will most likely put off some players and confuse them, which is always a bad thing because they should focus only on the music itself.
Also, it'd be preferable to use no key signature throughout the piece. The way you did it, the transposing instruments still get a key signature, which is useless since your piece is not tonal in the traditional sense. Just a little detail.
At the beginning of the funeral march, you write "10 celli a4" twice. First of all, that's a huge orchestra you have there, but also, 10 is not divisible by ten. Maybe it's just me, but how are the celli supposed to distribute the notes between themselves? It's doesn't seem clear.
That is all just notation-wise, I picked out a few things I would definitely fix so the musicians don't stumble over them when they (hopefully) premiere your suite one day! Regarding the music itself, I don't have much to say. The harmonies are beautiful and rich, with sometimes poignant dissonances in between that fade quickly. The orchestration is very colourful, imaginative and film score-like, it's clear you know where you want to go with it. The structure feels very free although it seems like you know what you're doing, you exceed in making the music feel very fluid but also employ enough repetition and similar techniques to make the pieces feel coherent. The only thing I would criticise here is that fifteen movements is just too much for a suite, that somewhat hurts the piece's perceived cohesiveness - I think I'd prefer a piece with just, let's say, four or five, slightly longer movements; perhaps it would be easier to make the movements seem connected there. It's not my preferred style of music personally, it's a bit too much "make-up" and too little "substance" - but please don't take that too harshly, it's simply a matter of taste. And for anyone who likes impressionists like Ravel and Debussy, I'd definitely recommend this suite. Keep up the good work!
Undeniably beautiful music. But I feel compelled to ask : what is it all about ? There seems to be an all-pervading aimless quality to it. What is all this superbly crafted music for, and where is it going ? What is it trying to say ?
Stylistically, it is clearly massively indebted to Ravel and Prokofiev. In terms of its genre, it seems to only make sense as film music. It is episodic, and not symphonic - it ends up going nowhere despite all its soul- searching.
How does a viola do on a D string a Bb below middle C?
they cant do that
Impressive writing and realisation, but also a little worrying for orchestral players.
Is this AI? I hear a lot of Ravel and Rachmaninoff (and others) in this piece. It's rather nice listening.
Ah.. the joys of writing music for digital libraries, not having to think one moment whether it is practical to perform. Qadruple Winds, 8 Horns, constant splitting of desks in the violins that make it look like this is best played with 8 desks in both first and second violins. 2 Harps, Celesta, Piano.
Surely Orchestras around the world can't wait to spend all the money on those extra players, just to play music by some unknown impressionist pastiche composer. ;)
But it sure sounds nice.
Not to mention we already have daphnis et chloe and more... there is no need for another imitation.
@@JumpAttackKingimitation is the most sincere form of flattery. Does all music have to be groundbreakingly original to be necessary? Maybe the composer just wanted to make what he enjoys.
That being said, I wouldn't call this a great work. I personally enjoy the sound and orchestration, however I don't hear any distinct, memorable themes or melodies, nothing that challenges me as a listener.But it has its uses, for example as background music when you want to study because it doesn't demand my full attention.
What an amazing sound! Which VST did you use?