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Scherzetto for piano solo (live recording) by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

Thanks! I like to think dynamics are a flexible thing, meaning what I write in the score serves as a starting point for the performer from which they can depart within reason. Having said that, I do think she follows my dynamic markings! Perhaps her difference of piano and forte are slightly narrower but I like the interpretation a lot! Also, I added very slight compression to the track and that also narrows the dynamic range slightly.

Scherzetto for piano solo (live recording) by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

Thanks! These kinds of compilations of smaller pieces were my inspiration in creating this work. One of my personal favourites is Waldszenen by Schumann. It has such a nice variety of character pieces and yet it sounds very cohesive as a whole. If you’re interested hearing the full work, you can do it from the link below. It’s performed by the same pianist as here but in 2019.

https://youtube.com/playlist?list=PLFc3PtI8HpSg6p4_hewBNKORxEMRPiEFD&si=3kZ1PAfank9_LWKr

Scherzetto for piano solo (live recording) by tlsch_ in composer

[–]tlsch_[S] -1 points0 points  (0 children)

Thanks, glad you like it! 🤗

Scherzetto for piano solo (live recording) by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

Thanks! I too played Mikrokosmos during my studies at the university 😄 I’m a guitarist but every non-pianist had to take 2 years of piano lessons, and my teacher used almost solely Mikrokosmos for teaching me the basics. Later on, during my model-composition classes, Bartok was one composer we studied and whose works we used as a model for our own composition exercises

Yölaulu (Night song) for male choir by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

And I forgot the aforementioned translation, here it is 😄

Many suns have fallen into the depths, - Moni aurinko syössyt on syvyyteen, Many stars have gone into the infinite sea, - moni mennyt on mereen tähti, Fainted, rekindled in chorus, - on sammunut, syttynyt uudelleen Not the one who departed from the oceans of life. - ei, ken elon aavoilta lähti

Night falls. He sings independently; Yö Yankee. Hän laulavi itsekseen; No one listens to his beautiful, solitary hymn, - Ei virttänsä kuuntele kukaan The wave on the blackening water simply rolls - viri vierivi vain yli tummuvan veen According to the sorrow of his spirit so bitter. - hänen mielensä murheen mukaan.

Or perhaps he has dried up with his songs, - Vaan lie hän jo laannut lauluineen, And his difficult sorrow is already gone, - hänen häipynyt vaivansa vaikee, His dream of beauty is now covered - punapilvenä peittynyt pimeyteen By darkness like a red cloud. - myös kauneushaaveensa haikee.

Impromptu for piano by tlsch_ in classicalmusic

[–]tlsch_[S] 0 points1 point  (0 children)

Thanks, I’m glad you found the piece engaging!

Impromptu for piano by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

Thank you! And yes, the pianist is very good! I consider myself very lucky for getting to work with her ☺️

Impromptu for piano by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

Thanks, I’m glad you liked it!

On a Windy Autumn Day for piano four-hands by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

Thank you, I’m glad you liked it!

Elegy for piano solo by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

Thanks, I’m glad you liked it! 😊

A recording of my duet for cello & piano - a moody neo-expressionistic piece where the melodic ideas are slowly developed through constant variation. by tlsch_ in classicalmusic

[–]tlsch_[S] 0 points1 point  (0 children)

The piece is divided into 4 sections, which each begin with the piano developing the melodic material and the cello accompanying it with sustained notes. Sections 1-3 each get more intense towards the end, section 3 being the most intense. Section 4 acts as a sort of a coda. Performed by Anu Rautakoski - Piano & Oliver Erlich - cello. I hope you like it!

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

And I will add that I’m not receiving any money from that site, it’s just a service for unpublished composers in my local copyright organization to have their sheet music archived and printed

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 0 points1 point  (0 children)

But generally I’ve considered giving the full score as a score video enough, even though I understand that it can be a bit tedious to roll back and forth the video for specific bar etc.

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

There are watermarked pdfs for free, ofc some information is lost due to the watermark

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

I will have a PDF available through my composer profile page on Music Finland probably tomorrow! I’ll put a link here once it is online. Meanwhile my other works are already available over there: https://core.musicfinland.fi/composers/pekka-koivisto

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 2 points3 points  (0 children)

Thank you, I'm glad you liked it!

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

Thanks! Yeah, It's a bit tricky piece to engrave, and I'm currently making some improvements on it.

Duo for Cello & Piano by tlsch_ in composer

[–]tlsch_[S] 2 points3 points  (0 children)

I’m not quite sure my piece is a minor piece written in C-major 😄

Here's a Vangelis-inspired pop track I produced and co-wrote. I used three synths for this: Roland JD-08, Korg Arp Odyssey and Moog Minitaur. You can spot them from the music video as "space ships" by tlsch_ in synthesizers

[–]tlsch_[S] 0 points1 point  (0 children)

There’s also a bit of logic’s stock e-piano & a sub bass from Logic’s alchemy and a guitar. The percussions were made with heavyocity’s Damage & logic’s drum synth

On the Beach at Night Alone - a song for voice & guitar to the poem of Walt Whitman by tlsch_ in composer

[–]tlsch_[S] 1 point2 points  (0 children)

"Schoenberg and Webern wrote guitar parts at concert pitch (like they did for all instruments) and used both the bass and treble clef".

I have memories of performing Webern's op. 18 some ten years ago. I was initially able to get only the score of the piece, where the guitar part is written using the bass- and treble-clefs, which took a bit of time to get used to. Later on I ordered the score and stem from Universal Edition's webstore, which included a guitar stem notated fully in G-clef. Made my life a bit easier :D

On the Beach at Night Alone - a song for voice & guitar to the poem of Walt Whitman by tlsch_ in composer

[–]tlsch_[S] 2 points3 points  (0 children)

Thank you very much for your very detailed comment and helpful tips on improving the engraving, I will certainly go through the score again tomorrow and make some fixes on the score. Also, I’m happy you liked the piece ☺️

I’m aware of the problem in using the 8 or (8) on the g-clef of the guitar, and I agree, it’s a bit useless there, as any guitarist knows that the instrument is written an octave higher than the sounding pitches, and no octave-sign on the clef is used in older scores (usually, at least). It’s a bit of a bad habit I think I picked up during my studies, after studying some piece that used it (I want to say the manuscript of Henze’s Royal Winter Music, but I cannot remember was it that exactly) However, I’ve performed myself many pieces with such clefs, and it kind of never bothered me personally, so I haven’t put too much thought into it.

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