Thumbs up...I like the harmony and dischord of heaven/hell/heaven/hell as it repeats. Creates imagery.

You Can View My Recreation of ACT I Scene I in Youtube:
http://www.youtube.com/watch?v=GwnIhQaUJVQ

Thanks for your comments Antti,
I think your ideas are interesting
Javier

An idea: Should we put an an intro before "Bleak, blind..." using Javier's motifs and materials ("the deadline is now...") in a much slower tempo? This could bind things nicely when these motifs reappear. We will need some kind of transition from the overture to Gabriel's monolog. Maybe that would be the place to introduce Javier's material.

Markus has taken the challenge of incorporating music from composers with very different styles and approaches to this text. I think it is possible to make this variety an asset. I think his sounds very promising, and we'll probably all learn about making this kind of music as we go on.

Should we have a name for this kind of music that is assembled from very diverse ingredients? "Kaleidoscopic music" perhaps?

This is certainly something that hasn't been done before in the history of music. So Markus is taking us "where no man has gone before". Very fitting for a Star Wreck -production ;-)

Wonderful! I like very much. Very good "we must act"...part and all in general.

Great work!!! That's real impressive!!!
For the orchestral score I've many ideas...
for the first segment (measure 1-14) loud chords with brass section (horn, trumpets, ecc.) and double-basses, after tiny parts with "spiccato" violins and woodwinds.
From measure 15-23 a harp and strings (harmonics), behind the "distress" chorus I've thinked to add two "external" trumpets and two trombones with mute repeating the chorus part a little bit louder, like a siren or something similar.
For the "recitativo" part (measure 24-39), strings and horns in "bouche" added on measure 37 sound can be good.
From bar 40 to 46 a great string crescendo until bar 42 where the trumpet enter with a fp
From bar 47 all the orchestra enter, double-basses, cellos and bassoons play the "ostinato" figure and the other the upper voice.
On measure 57 I've planned a diminuendo till measure 61 only with strings, and the last part strings in harmonics with a supported by clarinets and bassoons, like a pipe organ.
Report your opinions, and for now its all.

Very beatiful. I like very much

Great work indeed! I'm very proud to be taking part to this massive artistic occasion. Very interesting work on the piano as well - it's going to be tough to turn it into orchestral.
Low strings, they seem to me to be the best match for this mood.

I too have been wandering about this hissing "distress" that Nancy mentions! It has occurred to me that one way to soften this possibile hissing could be to make one voice chant "Free will..." instead fo "Distress...". But I think that Timo is probably right: with suitable orchestration, this hissing could perhaps be very effective.

Not bad at all!

I would say 'distress' is the situation they're in, so personally I would leave it there. I think it would work in the orchestration too. With all the hisses it could even be seen as an analogy to Adam and Eve story in the bible (okay that's a bit far-fetched ;) ).

I wasn't sure it was possible, but to me this seems to be is a very effective use of multiple composers' input--Bravo! I especially like the intensity created in the "we must act" section near the end, and the opening is suitably melancholic. From a writer's standpoint, are you okay with the word 'distress' in the choir's section, or will it sound like a bunch of hissing with the 'ss'es? Would the word 'sorrow' or 'wasting' (or 'wasted') sing better?