This experimental composition showcases the combined creative potential of man and machine. Mr. Stolyarov takes an algorithmically generated theme by WolframTones – one of inexhaustibly many possibilities – and gives it a human touch with ten distinct orchestral variations that draw out orderly, harmonious melodies from the motifs present in the WolframTones theme.
This composition is written for a string section, three harps, and two pianos. It is played using the Finale 2011 software and the Steinway Grand Piano, Harp KS, and Full Strings Arco instruments.
See the index of Mr. Stolyarov’s compositions, all available for free download, here.
– Fractal Art Swirl by Ralph Langendam (Public Domain)
– Abstract Orderism Fractal 63 by G. Stolyarov II – Available here and here.
– Abstract Orderism Fractal 64 by G. Stolyarov II – Available here and here.
– Abstract Orderism Fractal 65 by G. Stolyarov II – Available here and here.
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0-to-60 Waltz, Op. 74 – Musical Composition by G. Stolyarov II
A work that is both classical and experimental, this piece for two classical acoustic guitars and three harpsichords is intended to evoke the process of arriving at new ideas or making progress on a major project in a staggered fashion. Each advance is a leap forward, but, on a larger scale, there remain an order and coherence of the greater task or discovery being achieved. This work follows a theme-and-variations format and utilizes harmonies reminiscent of the Spanish classical guitar compositions of the late 18th and early 19th centuries.
This composition is played in Finale 2011 software.
This rondo by Mr. Stolyarov, new in 2013, is one of his most ornate compositions to date, while managing to maintain an intense rapidity and convey sensations of acceleration and deceleration through the use of chords and changes in prevailing note lengths. The key alternates between C minor and C major, and the melody rapidly develops in complexity until reaching a grand finale in the last recapitulation.
This composition is written for three piano parts and is played in Finale 2011 software.
This composition by Mr. Stolyarov was written down in 2002, but some parts of it were virtually impossible to perform for a pianist of any skill. This version of the composition is played using Finale 2011 software and the Steinway Grand Piano instrument.
Two themes predominate in this work. Their juxtaposition is unusual in that the meters of each theme differ. The opening theme (A) is in 2/4 meter, whereas the second main theme (B) is in 3/4 meter. Both themes are marches, though B is noticeably heavier than A both in terms of the mood and the chords involved. The melodies of both A and B are alternated and repeated throughout the work, but the accompaniment changes dramatically. The last appearance of theme A, for instance, has it accompanied by scales of 32nd-notes — a virtually impossible feat for any human musician to execute.
This 2009 composition was written in a theme-and-variations format, with the main theme being presented, then varied five times, then repeated in its original form. The melody is played by a harpsichord with piano accompaniment, and a second harpsichord provides additional accompaniment in the first variation.
This composition has been remastered in Finale 2011 software and is played by two harpsichords and a piano.
This 2009 composition is quite modern in its structure and harmonies, but manages to remain free of unresolved dissonance and maintain a melodic dynamism. The piece conveys rapid motion — as in a fast run — as well as a sense of exertion and onward momentum. It intensifies toward the end and reaches a sudden, rapid conclusion — as a runner might do upon completing a predetermined distance.
The entire work is built upon four chords in C minor, which are arranged in a variety of ways — with the main melody (A) being interspersed with related but structurally different melodies and becoming more intense, powerful, and rapid with each repetition. The structure of the piece is ABA’CA”DA”’E, where E is the conclusion.
All the notes of this piece are either sixteenth notes or thirty-second notes, making it quite difficult for a human musician to perform. As such, it is another example of Mr. Stolyarov’s genre of superclassical music — composed using traditional harmonies but in tempos and instrumental arrangements that only a computer is likely to be able to execute.
This composition has been remastered for two harpsichords, a piano, and strings and played in Finale 2011 software.
The main image for this video was designed by Wendy Stolyarov and is used with unrestricted permission.
This composition’s harmonies resemble those found in music of the late 18th-century Classical period, while some of the devices used — including the lengthy trills for the flute and the harp — are more extensive than could be found in that era, as no human flute player could maintain a trill for as long as a computer program can. There are three basic melodies in this piece, and their orchestration is varied over time. The mood of the composition is light, cheerful, and playful — although, it is to be hoped, not frivolous.
This work, originally composed in 2009, has been re-mastered in Finale 2011 software for four parts: piano, flute, bassoon, and harp.
This composition by Mr. Stolyarov attempts to convey the sensation of struggling through a difficult task or an adverse situation which requires the use of numerous faculties simultaneously. It is another exercise in creating polyphony and multi-instrumental composition. This piece is for two pianos, with an organ making a brief appearance at the end.
This composition is played using Finale 2011 software.
This is a composition for two brass sections and timpani. The first brass section introduces the main melody of the piece, while the second brass section comes in once the melody is repeated; it introduces considerable ornamentation and tension into the work. The timpani provides steady, fast, omnipresent accompaniment throughout the length of the composition. The entirety of the piece is meant to reflect a determined attempt to overcome an obstacle — a push forward despite hardship and resistance. The composition is written in the key of A minor, but transitions to C major in the final two measures to represent the successful triumph over adversity.