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

With the advent of our democratically chosen fascist plague looming I'm going to reprise this one which is basically about -- wait a minute I don't do  "it's about's"  --  it's about whatever you think it's about.  I feel it now more than four years ago when I wrote it.

Do you see the same things I do 
in morbid visions of the night
I'll confess I'm in need of some discipline
a circumcision of the mind

a single moment's indecision can mean the difference of a life
wait for the signs of antipathy
I'll be coming right behind

is it time to take our things and go running for the line
there's nothing here that's worthy of the sacrifice
why keep me waiting in the dark
as if you and I were born to all this suffering in our stars

Jacob wrestled in the desert
with an angel who would not give his name
does faith only come to me in my anguish and shame

witness to your own decline
you just lie and tell yourself it's alright

Spotify Link

Why Keep Me Waiting

One of the many unforgettable Motown classics, this recording is a cover of the 1965 hit by The Supremes. Once again I took a live, somewhat flawed iPhone recording and simply added more vocals to better capture the soulful beauty of the song (written by Eddie Holland, Lamont Dozier, and Brian Holland). I had conceived this interpretation of the song decades ago but this is the first time I recorded it.

Credit and my thanks go to Haracio30 (Pixabay) for the cover photo.

Stop In The Name Of Love

Stop in the Name of Love

✨ Silk and Iron ✨
by Alexandru Sorin Ciobanu Al Rufei
Dedicated to my ballet students

In a world where grace is born from discipline, and strength is hidden behind every delicate step, "Silk and Iron*"was inspired by the silent poetry of my ballerina students and the beauty of a timeless collaboration with a gifted ballet teacher.

This piece is a tribute to the invisible dialogue between music and dance — between the softness of silk and the resilience of iron.
It flows like fabric through winter air, echoing the passion, fragility, and determination that define the soul of every dancer.

Let yourself be carried by this musical reverie — where each note becomes a step, each silence a breath, and each phrase a pirouette through memory and dream.




Silk and Iron

Moonbase Landing

I had the absolute pleasure of collaborating again with the greatly talented David De Michele who has created an incredibly enchanting cinematic soundscape for my piano composition "Up". 

Please listen to more of David’s beautiful music here: @user-92820487

Sincere thanks for your attention to this work. We do hope it brings you some joy and comfort!

Credits:

Composition & piano performance: Anastasiya Ihnatovich
Arrangement & orchestration: David De Michele

Up (Ft. David De Michele)

Oppenheimer

In collaboration with Francess Harris. She played the piano composition and I did the composition of the orchestral arrangement. Thank you for listening and enjoy. Any comment is appreciated always.

Collaboration Timothy McGuire / Francess Harris

The Enchanted Hour

The Enchanted Hour (feat. Fr. Harris)

In a world of lost moments... we all need to understand... That's Time!

Enjoy the latest track from falcon; "That's Time".

Recorded at Rose Pro Studio
Produced by Kit Gratrix

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

Paul Maurice Roche | Composer