Opera - first attempt...so far as you know. My first pretend attempt not to write Opera obviously doesn't count. We are playing Opera 'you are allowed to forget one or more earlier catastrophic attempt' rules. Under these rules (which I made up as I went along)...the integer representing deniable (discountable) previous operatic atrocities can only increment. It cannot decrement. Hence, the number of deniable previous attempts may only rise.

Cinque Secondi - Act I

Short theme for ballet

Experimenting again here with different divisions of strings. Why is getting the balance right so difficult? Part of the answer is that conductors (not composers) are the experts. They ensure, for example, that large numbers of divisions of second violins, avoid blasting smaller numbers of viola divisions into acoustic oblivion.

Small, medium or large orchestras plainly have very different numbers of divisions of the different string instruments. It is very complicated to get the balance right, to say the least. Conductors know how to handle all sorts of different orchestras (small, medium and large)...and therefore all sorts of different divisions, of all sorts of instruments.

The best way for composers to learn (from conductors) is to attend rehearsals of pieces made by famous composers. Making notes of everything the conductor says to the orchestra during rehearsals.

Gustav Mahler was a conductor who happened to compose in his spare time. Being a good conductor, in my opinion, is orders of magnitude more difficult than being a good composer. Controversially, I suggest good conductors should not be required (by the performance notes of a score), to adhere strictly to performance notes. Good conductors should be positively encouraged to interpret scores ad libitum.

Efforts were made in the above study to think about string divisions, in relation to other string divisions and piano. A technical study. Which became the first movement of my first piano concerto.

Piano Concerto No.1 (1st movement) Op.22

Piano Concerto No.5 (5th movement) Op.41

Caravaggio's Shoes

Nocturne No.2 Op.43

Spanish Dances No.19 Op.43

Spanish Dances No.20 Op.43

Piano Concerto No.6 (4th movement) Op.44

Prélude No.1 Op.46

Piano Concerto No.6 (5th movement) Op. 44

Piano Concerto No.7 (i) Op. 47

Study for an Aria 15.09.25

Piano Concerto No.7 (iv) Op. 47

Spanish Dances No.21 Op.43

Piano Concerto No.8 (i) Op.48

For Mario. Continuing a series of Piano Concerto miniatures which remain close...to my heart.

Piano Concerto No.8 (ii) Op.48

Piano Concerto No.8 (iv) Op.48

Piano Concerto No.9 (i) Op.49

Piano Concerto No.9 (ii) Op.49

Piano String Studies No.1 - Snowfall

I once said to my family that only God and Mozart could write a string quarter with two violas. The absurdity is that string quartets, by definition, may only comprise two violins, cello and a solitary viola. The above piece, the first in what I hope will become a series, was written for three violas (alongside piano, two violins and cello). I hope that at least some of my growing love for the viola, comes through. I consider it more of a piece for viola than anything else. The piece is named after the Latin Quarter in Paris, a place of elegance and grace.

Latin Quarter Suites No.1

Piano Concerto No.10 (iii) Op.50

Latin Quarter Suites No.3

This piece took me hostage, from the moment I heard it (in my mind). I had no choice (other than to orchestrate and record it). The idea somehow seemed more important than the resulting piece.

Piano Concerto No.11 (ii) Op.51

Piano Concerto No.11 (iv) Op.51

Latin Quarter Suites No.5

Latin Quarter Suites No.6

Piano Concerto No.12 (v) Op.52

Fugue No.1 Op.54

Efforts were made to invoke the universal from the specific

I shall wear enchanted trousers, and float upon the beach

Piano Concerto No.14 (ii) Op.55

Latin Quarter Suites No.7

Piano Sonata No.3 (i) Op.42

Piano Sonata No.3 (ii) Op.42

I sat before a painting by Tetsis in Athens recently, entitled Hydra Sunset. I intend to write a series of pieces entitled The Hydra Suites. Everything I made before seeing the paint of Tetsis, lacks meaning...unless as an apprenticeship. He made rock melt,  before light. As a function of curation, I should destroy most of what I have made before. It no longer matters.

Paul Maurice Roche | Composer

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