However, because of the nature piece and how “disturbing” it can be to some one will rarely see this piece preformed live. Unless it’s an anniversary for Schoenberg’s birth and/or death or a World War II themed program.

“Cloud Burst” and “Ghost Train” will most likely not been heard outside of high school band competitions or large public events meant to “dazzle” the general unwashed public.

Everything has its place. It was the next step in music, however short.

Interesting texts by Ogden Nash. My first thought was Kipling, but I guess not.

His music is very programmatic, but this brings me back to an old argument I had with a bunch of flautists over some Ian Clarke music: when does gimmicky program music (like Whitacre’s use of snapping to create rain) become TOO gimmicky and lose integrity as a composition? Clarke is famous for flashy flute pieces, like “The Great Train Race.” However, composers and flautists alike argue about whether or not the merit in his work is all just flash and flair. Speaking specifically about “The Great Train Race,” all of us thought the piece was neat and sounded like…well, a great train race… But we all agreed that compositionally, it was pretty unsophisticated outside of trying to make a flute sound like a great train race.

I know that’s not directly related to Whitacre’s music… I guess what I’m saying is your comments on “Cloud Burst” may be more off-putting for me than encouraging. Out of pure curiosity (and fairness to him), though, I think I’m gonna go hunt down some more Whitacre and check it out for myself.

I agree with the notation and dynamic markings, but not in all cases. What I call coffee table music or background music, it leaves much room for interpretation to the player. Of course, so long as they play in the general ballpark.

My score you commented on didn’t have any markings (I’ll mention this quickly) because, well…, it can’t be played by a human. I’ll experiment with slowing it down and perhaps add some markings in the style Satie might enjoy.