Compositions



Here is a list of music I have written:

Ainulindale


(Winter 2013 . Symphony Orchestra & Choir)
This piece for symphony orchestra and choir is the first one of my project to write music for Tolkien.s Silmarillion. It already introduces important leitmotifs that will return in the work to come.

The style is closely related to Wagner.s and of course Howard Shore.s work on The Lord Of The Rings but still stands for its own.

I will discuss the different leitmotifs in Ainulindale and how they relate to Tolkien.s story.
So first here is the .wav export of my notation program. Just Midi-Instruments but one can get an idea of what it will sound like when played with a real orchestra.




In the beginning one can only hear the choir. Nothing has been created yet. Only Eru, who always was and always will be, thinking of the Ainur and therefore making them real.
As they are born from his thoughts, they begin to sing about all the things they would like to see.
This choral part is very pure and the clear chords show no sign of dissonance yet.

Around 00:30 one can hear a bit of uncertainty. How should the music be continued? Melkor is already thinking of how to stick out. Still, when the orchestra comes in, we are witness to how their singing becomes reality and that together they are more than the sum of all their voices.
The brass section symbolizes this as well.

01:15 is a short pause where the Ainur are taking a breath, eager to see what they have created by their singing.
At 01:30 we hear the first theme related to Arda, the world that has been created. It is the leitmotif of all the spirits of the woods and of nature. Everything is in the state of beginning and has thus to be formed.

At 02:00 we see the world from a wider perspective. The Valar are looking at their work. They have come to Arda to shape it according to what they have imagined in their singing.

02:24 again is a close-up on the world, almost ready for the appearance of the first children, the elves. One can already hear their merry doing in this part.

02:50 symbolizes the first shadow that falls on the world. The theme resembles the one in the beginning, just darker, with Melkor having a greater influence on it. This is when grief and pain are born before the first children have even appeared. This part illustrates the struggle between good and evil, not knowing which one is to prevail.

04:15 again brings back the leitmotif of the Valar. They can defeat their enemy for the first time. Arda has suffered but is under their control again, although they did not really seek to control it but to give guidance to all the creatures that will soon appear.

04:46 is the tale about whether it is the elves or the dwarfs to come first onto the world. They were created by one of the Valar who felt so alone. Eru finally allowed them to live, but they would have to sleep until the elves have arrived.

Finally from 05:10 to the end, the arrival of the elves is described.


Impetus Veris



(Spring 2012 . Symphony Orchestra, arr. for smaller Ensembles)

Impetus Veris was written for the annual concert of my former school held in spring, hence the title Impetus Veris. The music should reflect the previous 8 years in school and therefore comprises enthusiastic as well as melancholic parts. ;)
When writing this score I also had the video game The Legend Of Zelda and its music by Koji Kondo in mind and therefore you will probably find some similarities in the style and conception of this piece.
Originally, I wrote it for a large orchestra and choir but then arranged it for a smaller ensemble.




Eragon



(Until Now . Symphony Orchestra & Choir, ideas & drafts for a motion picture)

I have been a fan of Eragon all the way since the first book was published. When reading I always see a film in front of my mind.s eye and therefore I decided to make at least the musical part real and started to collect ideas and leitmotifs for a motion picture score.

We all know that the first Eragon film was not so well received, but who knows, with the right music and the right director we could still start all over again and make something epic.


Das Wandelnde Schloss . Howl.s Moving Castle



(Autumn 2012 . Piano)

I was so fascinated by Hayao Miyazaki.s film that I wanted to write my own interpretation of the moving castle.s theme. It.s done in the same style as in the film, but on the other hand I wanted to create something completely different.



Fanfare



(December 2013 . Symphony Orchestra, arr. for piano)

This is one of three fanfares I.ve written up to know.

Last Line On The Painting



(November 2013 . Piano, Bass & Percussion, arr. for piano)

You Are Beautiful



(Summer 2012 . Piano)

........................................
If you want sheets for my music (orchestra, piano, etc.), please contact me personally under armin.herbsthofer@gmail.com !


Programs & Gear



Cubase 7.5



Whenever there is no suitable ensemble available to record some of my work, or I want to give others a better idea of what a piece of music may sound like, I orchestrate it in Cubase.

I got my first copy in 2013. Here is an overview of what I've experienced since then.

To start off, I decided to mix some live recording with one of HALion4's solo violins: Therefore I recorded a medley of some How To Train Your Dragon tracks by John Powell on the piano and added the violin via midi-keyboard.

The whole thing looks like this:

cubase_1


You can also see the note-expression window that opens up automatically after double-clicking a midi bar. Here the volume property is selected.

For this first example I didn.t modify the parameters of the violin VST-plugin. Of course, these tracks should be doubled with another slightly different sounding instrument or maybe some woodwinds. (I just use one extra oboe!) To make solo-instruments sound good it takes a lot of editing, but anyway, this is the result of about 1 hour of work.





Then I wanted to check out how string sections sound. :)
I really have to say that I am amazed. This was done in just 15 minutes with only one track, which means that this is only one VST instrument. Sounds pretty convincing, doesn.t it?



I.m also a huge fan of The Legend Of Zelda. So my next project was to do something a bit more complicated than just checking out the instruments.
These tracks are two versions of the same piece (Windfall Island) from The Legend Of Zelda . The Wind Waker featuring multiple tracks and instruments. Which one do you prefer? :)