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Something happened that I can't explain. Please advise.

I mentioned in the other Appassionata thread that a well-known Eastern European (or Russian) concert pianist contacted me because she had heard my "My Lover's Concerto" over on YouTube and wanted to perform it with an orchestra she is associated with in some way, perhaps friends with the conductor--I didn't ask, don't look a gift horse, right?

I mentioned the Concerto Appassionata to her last week or so in passing after addressing the issue of the trombones. She wrote back today saying she liked the Appassionata very much and would do either one--I should choose!!!! But the problem of the trombones still remains.

I should mention that no talk of money has transpired here--I am not paying for any of this. I did emphasize that she and the orchestra were entitled to any and all royalties that might result from the performance. I'm not concerned about the money. I'm only interested in the exposure.

I've never heard of a situation like this and of course am thrilled that she would be interested in doing whichever I choose. Of course, I'd have to rework the Appassionata and write out the trombones and tuba. Perhaps that's a good thing. The "Lover's Concerto" would involved much more work. But "Lover's" is musically better and judging from the comments here would be the more prudent choice. Of course no one here has heard the "My Lover's Concerto" either.

Does anyone have any idea, speculation on why a well-known concert artist would give me carte-blanche to choose which concerto to perform when no money is exchanging hands? Thanks much for any and all feedback. I know this sounds crazy but I swear it's the truth. I am not making all this up.

Isn't the Lover's Concerto just a condensed version of the Rach 2nd?

Yes, but so is the Concerto Appassionata.

So which one was the other thread about? Was that a third one?

The first was critical commentary on the CA. The second is this new situation I'm facing. It's seems unusual to me and I'm asking people if they can shed any light on if it's unusual or if I should just go with it and not ask any question--whatever happens, happens.

But the piece you linked to in the other thread wasn't a condensed version of the Rach, it was your own work, was it not?

Ah, I just listened to the Lover's Concerto...it was a condensed version of your own second, not Rach's. I get it now.

Forgive me. Yes, it is a condensation of my own # 2 but everybody thinks I re-wrote (imitated) Rach's 2nd Concerto in both my 2nd and 3rd. That's what I thought you were referring to.

At any rate, I've decided to tell her to do the Concerto Appassionata, as it is less work for both of us---me to re-write the brass to exclude the trombones and tuba and her because it's an easier piano part. Let the chips (and notes) fall where they may.

Christ-I just listened to the Lover's Concerto...starting at 2:45 that's the most cliche imitation of Rachmaninov passage I've ever heard...and the coda too...I mean come on.

Well, I tried.

What did that say before you edited it?

Hello, I am glad to hear about your success and I do hope you find my post helpful.

By the fact this famous artist likes both of your compositions, it is possible that she not only likes your individual pieces, but your style of composing. This leads me to believe a second and a third concert may follow after the initial one, which you are about to do.

I read your thread as a positive rather than a dilemma. This famous artist prefers your style of composing.

I do understand artists whether very famous or not, all have their preferences. I read posts here all the time about what everyone prefers to play and what they do not like. Everyone has their own style of music they prefer over the other.

Wish you the best with your compositions and performances.

I certainly hope the first concert goes well for you.
I believe, after the initial concert with this famous artist comes out as a public success, other artists may come forward requesting to play your compositions. I would simply choose the one I like better.

Regarding money, if successful in anything, money will follow.

Wish you the best

Thanks much, Schubertslieder. Your positive advice and sentiments are greatly appreciated---unlike you-know-who, who seems to get his jollies spreading insults and dissent everywhere he goes. Some people are born that way, I suppose--a curse for the rest of us.

I am trying desperately to figure out a way to write out the trombones and tuba since the orchestra she intends to play with doesn't have them--specializes in classical literature, I'm guessing, rather than romantic. If I can't find a way, I will just mail the scores to her and say, "Here. You choose. You and the conductor see if you can figure out a way to make this work".

Sounds crazy, I know, but removing the lower register brass pretty much emasculates the music. In the end, if she rejects the idea and says, "Sorry, just not gonna work," well, I'm no worse off than I was before she contacted me. You have to look at this stuff philosophically or go crazy.

I am glad you found my post very helpful.
I do hope you can find a way to deal with the situation about the low register instruments.

It sounds very promising that a famous artist is choosing your composition over all the others. Just think about it.

Best

Regarding you-know-who, ,if you want to laugh about something, read the reaction of other posters not necessarily the one in question, . They are funny, .

To get a good idea of this particular poster, you must read a thread, "My Performance of Islamey". If you can't find this thread, I will bring it forward by posting something.

Schubertslieder, your aggressive behavior towards me borders on something I'm ready to report to the administrators/moderators. I have not disrespected you in any way, and it seems logical that you would return the same respect. Please discontinue these references to me. Now.

If you really knew as much about music as you pretend to, you would not have brought up that thread.

Are you threatening me?

I certainly hope you are threatening me in any way shape or form.