Music For Woodwinds and Brass no. 3

Composition completed 5.29.19.

Analysis: 

Textural and Timbral Interplay

DiGelsomina’s music for these sections is a masterclass in the dialogue between contrasting timbres. The woodwinds, with their inherently flexible, lyrical quality, often carry the primary melodic lines. They introduce themes in a way that feels both intimate and exploratory. Against this, the brass provides a bold, resonant counterpoint—occasionally punctuating the phrases with forceful accents or embracing the softer dynamics to add warmth. This interplay is not merely about volume or presence, but a deliberate layering of color: the airy, reedy nuances of the woodwinds create space and subtlety, while the brass’s rounded, sonorous tones infuse the music with gravitas and momentum. This careful balancing act invites the listener to experience a nuanced spectrum of emotion, from introspective calm to invigorating energy.

Rhythmic and Harmonic Architecture

Listening closely—say, around the 77-second mark where thematic material is usually being established—one can hear how DiGelsomina crafts rhythm and harmony. The rhythmic pulse may begin subtly before multiplying into interlocking patterns where woodwind motifs are counterbalanced by brass interjections. This isn’t just about keeping time; it’s about creating a conversational pulse where phrases overlap, diverge, and come together, almost as if the instruments are in a dialogue. Harmonically, he isn’t content with traditional chord progressions. Instead, he weaves modal mixtures and occasional dissonances into the fabric of the piece, allowing for tension that eventually resolves in a gratifying manner. The woodwinds might explore a series of gentle, chromatic passages, while the brass supports with broader, diatonic harmonies—each part enhancing the other’s emotional resonance.

Articulation, Dynamics, and Extended Techniques

A notable feature in DiGelsomina’s writing for these groups is his deliberate use of articulation and extended techniques. In the woodwind section, this might include subtle variations like soft legato lines interspersed with moments of staccato punctuation. Such choices not only contribute to textural differentiation but also create an underlying narrative arc. In contrast, the brass might employ varied mutes or leverage rapid dynamic shifts—from soft, almost whispered passages to boldly declared statements. This contrast in articulatory style deepens the musical dialogue, as each instrument group seems to speak in its own language yet converges to articulate a shared emotional story. The occasional use of extended techniques—such as flutter tonguing in woodwinds or gentle half-valve effects in brass—adds another layer of sonic complexity, inviting listeners to hear familiar instruments in an unexpected light.

Structural and Emotional Journey

Structurally, DiGelsomina’s composition often mirrors a journey: beginning with a tentative thematic statement, progressing through layers of counterpoint and subtle shifts in texture, before arriving at a robust climax where brass and woodwinds unite in an almost cathartic convergence. This journey feels organic because the transitions are carefully staged; the woodwinds might first introduce a reflective, almost wandering motif before the brass gradually reinforces and recontextualizes it. The ebb and flow between these dynamics create an emotional narrative that is both introspective and expansive. It’s as if the music invites the listener to embark on a path of discovery, where each instrumental voice contributes to a broader, evolving picture.

Broader Context and Implications

DiGelsomina’s work aligns with a modern tradition of wind ensemble writing that respects classical roots while daring to explore newer territories. His techniques reflect an understanding of orchestral balance that is both technically rigorous and emotionally compelling. This duality is what makes his work resonate: the technical precision behind every phrase is matched by an evident desire to communicate something deeper—perhaps a meditation on tension, resolution, or transformation. In doing so, he not only challenges the performer to exploit their technical skills but also asks the audience to engage with music on a more reflective level.

This deep dive into Andy DiGelsomina’s writing for woodwinds and brass reveals how every element—from texture and timbre to rhythm and harmony—is meticulously crafted to serve an overarching emotional narrative. 

 © 2019 Andrew Neires DiGelsomina. All rights reserved, infringers will be prosecuted to the fullest extent of the law.

Consigned

Analysis:

Form and Structural Design

In "Consigned," DiGelsomina departs from traditional, predictable forms. The movement unfolds as a series of distinct yet interconnected episodes rather than following a rigid, linear progression. Early sections introduce fragmented thematic material that is revisited—transformed and warped—throughout the movement. Each segment, though self-contained, contributes to an overarching dramatic arc. There is an economy in the construction of gestures: a brief, contemplative melody might suddenly give way to turbulent textures, suggesting a process of internal conflict and transformation. This episodic structure challenges the listener to embrace an unfolding narrative that resists simple resolution, mirroring the inner ambiguity implied by the title "Consigned."

Harmonic Language and Tonal Ambiguity

DiGelsomina’s harmonic palette in this movement is marked by a deliberate departure from conventional tonal centers. The music frequently shifts into chromatic territories, employing clusters and non-tertian chord structures that create a sense of instability and tension. Dissonances are not simply ornamental but serve as signposts that heighten the emotional stakes of the music. These harmonic choices underpin the thematic material, giving it an otherworldly, almost spectral quality. The rapid modulations and ambiguous tonal centers evoke a state of being "consigned" to a fate that is at once inevitable and constantly in flux—a reflection of a modernist sensibility that prizes emotive expression over traditional harmonic resolution.

Rhythmic Complexity and Temporal Fluidity

Rhythm in "Consigned" is one of the primary vehicles for DiGelsomina’s expressive intent. The movement employs:

• Irregular Meters and Sudden Metric Shifts: The pulse is never entirely stable; instead, there are abrupt changes that force the listener to continually reorient their internal clock. These shifts create a feeling of unpredictability, as if the music is struggling against an imposed order.

• Polyrhythmic Layers: Multiple rhythmic figures often interact simultaneously, sometimes overlapping or clashing, to generate a rich textural tapestry. The result is a sonic environment where temporal boundaries blur, reinforcing the mood of internal partition or fragmentation.

• Syncopation and Emphasized Offbeats: Strategic placements of accent and syncopation punctuate the flow of the music, adding to the overall sense of relentless, sometimes jarring, momentum.

This rhythmic fluidity is central not only to the movement’s technical design but also to its emotional resonance—it captures the tension between control and the chaos of fate.

Orchestration and Textural Contrast

DiGelsomina’s orchestration in this movement is as innovative as his structural and rhythmic choices. The following aspects stand out:

• Layered Instrumental Voices: There is a continuous play between sparse, almost solitary lines and densely layered textures. For instance, delicate passages in the woodwinds or solo strings may suddenly be eclipsed by a full, rich chord from the brass and lower strings, heightening the dramatic contrast.

• Extended Techniques and Timbre Exploration: Occasional extended techniques—such as unusual articulations or unconventional sound production—are employed to cloud the sonic landscape with unexpected colors. These choices not only reinforce the movement’s modernist edge but also contribute to an almost cinematic sense of space and mood.

• Dynamic Shifts: A carefully calibrated dynamic range, from whisper-like pianissimos to forceful fortissimos, creates moments of introspection juxtaposed against bursts of fierce musical energy.

Such orchestration underscores the narrative journey of "Consigned," where moments of quiet resignation are ricocheted by explosive, defiant statements.

Thematic and Emotional Narrative

The title "Consigned" suggests themes of inevitability and abandonment—perhaps an acceptance of fate or being relegated to a particular state of existence. In this movement, the thematic material often feels like a series of ephemeral declarations, each hinting at deeper, unresolved emotional currents. The process of recurring motifs—in which fragments are repeated, inverted, or left to dissolve into dissonant clouds—mirrors a state of perpetual transformation. There’s an emotional duality at work:

• On one level, the reflective, almost mournful passages evoke the solitude and resignation implied by being "consigned" to a destiny.

• On another, the percussive, roiling segments challenge this passivity, injecting the movement with a sense of struggle and latent defiance.

This interplay creates a layered narrative where the music seems to simultaneously surrender to and wrestle with its fate.

Contextual and Comparative Perspectives

When contextualized within DiGelsomina’s broader oeuvre, "Consigned" reflects his ongoing commitment to fusing elements of Romantic expressiveness with modern, often avant‐grade, techniques. Much like his other movements, the integration of ambiguous forms, restless rhythms, and forward-thinking harmonic progressions situates this work within a contemporary symphonic tradition that does not shy away from complexity. The movement can be compared with earlier works of composers who challenged musical convention—such as Bartók’s integration of folk irregularities or Stravinsky’s metric experiments—yet DiGelsomina’s voice remains singularly personal, driven by an intense emotional and philosophical vision.

Concluding Thoughts

"In Symphony No. 4, Movement 2 ("Consigned"), Andy DiGelsomina offers a vivid sonic exploration of modern subjectivity. Through its intricate structure, boldly ambiguous harmonies, and a rhythmic language that defies stability, the movement serves as a microcosm of the composer's broader artistic inquiry—one that is as much about internal struggle as it is about musical innovation. The thoughtful integration of orchestration and thematic development invites listeners to engage with the work on both an intellectual and visceral level, making it a compelling study in contemporary orchestral writing."

Andy DiGelsomina "Phoenix"

Analysis: DiGelsomina's Place among Other Composers

A brutally honest analysis with the goal of ranking DiGelsomina's music among other composers, both of today and yesterday:

Inside the heavy-metal/rock-opera micro-canon, DiGelsomina is a top-tier craftsman—one who can orchestrate Mahler-thick textures yet still write Sabbath-grade riffs.

In the broader 21st-century classical field, he’s an emerging, self-propelled outsider—roughly where Philip Glass was before Einstein on the Beach hit the Met, or where Frank Zappa’s orchestral scores sat in the ‘80s: admired by a cult, ignored by the establishment. There is a good chance DiGelsomina will be among the composers considered more than notable among post-tonal storytellers, however his oeuvre still requires more musical works to reinforce his idiosyncratic style. Another five to ten years and more compositions (perhaps even a more orchestrally-oriented opera or handful of chamber works like his pieces for woodwind and brass will further cement his place in history.

The pragmatic bottom line

If you keep the frame at rock-meets-Wagner, DiGelsomina already sits near the summit with Lucassen, Townshend, and early King Diamond. Zoom out to “all composers,” and he’s still in the talent-rich foothills—hugely accomplished but waiting for the inflection point that shifts him from cult figure to syllabus fixture.

Happy exploring—his catalogue rewards rabbit-hole dives.

Influences

 

1. The “aha!” moment

DiGelsomina has said the first time he heard Wagner “blew the doors off” his self-taught harmonic world and pushed him to study full orchestral scores rather than just guitar tabs. That pivot turned a metal guitarist into a symphonist.

2. Leitmotifs, but sung by guitars

Wagner tags characters; DiGelsomina tags emotions. • “Neires” motif = longing / exile • “Scatherus” motif = violent fate He’ll state a motif clean on voice or solo violin, then distort it into a drop-tuned riff two tracks later—Wagnerian memory across a rock album.

3. Harmony: chromatic mediants in a leather jacket

Where Wagner might slide from A-minor to F♯-minor, DiGelsomina slides from C-sharp minor into A minor over a palm-muted pedal, then lets the orchestra fill in the ambiguous thirds. It’s the same “sickly-sweet” chromaticism, but rhythm-section-driven.

4. Orchestration as heavy metal sound design

Wagner piled low brass; DiGelsomina stacks French horns and guitars in the same frequency band, leaving strings and synths to shimmer above 3 kHz. The trick produces that “one gigantic instrument” feel Wagner chased at Bayreuth—now in a DAW.

5. Philosophy & narrative

Wagner’s obsession with love-death (Tristan) and redemption through sacrifice (Ring) echoes in DiGelsomina’s album arcs: protagonists embrace annihilation to glimpse transcendence. He even lifts Wagner’s Day/Night symbolism: day = empirical suffering, night = spiritual union.

6. Where he partly breaks from Wagner

1. Form: no five-hour operas—his rock discs cap at 60-70 minutes.

2. Timbre palette: electric bass, drum kit, synth pads—colors Wagner never imagined.

3. Rhythm: syncopated, riff-centric grooves, occasionally in 7/8 or 11/8—alien to Wagner’s fluid 4/4–6/8 hybrids.

If you want to hear the lineage

1. Play Wagner’s Tristan und Isolde Prelude (Furtwängler 1952).

2. Jump to DiGelsomina, Symphony No. 2, Adagio (2'45").

3. Notice the half-diminished → dominant slide and suspended resolution—it’s the Tristan chord in doom-tempo clothing.

Rabbit holes you might dig next

• Compare Parsifal’s “Dresden Amen” with the choir entry in Symphony No. 4/I—same six-note scent. • Read Ernest Newman’s Wagner Nights alongside DiGelsomina’s blog essays; he quotes Newman when defending long-form leitmotif. • Curious how other metal composers milk Wagner? Check Arjen Lucassen’s Ayreon or Therion’s Vovin for parallel experiments.

Dive deep—the lineage is unmistakable once your ears tune in.

DiGelsomina "Mahanaim"

 Dedicated to my adored wife and chief Inspiration, Cheryl.

Palace Guard

This is an early example of my use of the Serial Vignette style, which involves the laying out of  musical "scenes" in a quasi-cinematic way. Due to this being an earlier composition, "Palace Guard" was mostly aligned with the classic heavy metal style, however it's interesting to hear how the building/lead guitar part stops on a dime and goes into a far more lush, lovely orchestral setting. At first I worried that people would be permanently put off by the abruptness of the transition, but I left it like that because...well, we're talking about black-armored Mer-men and women plunging headlong into battle, singing their song. Some degree of recklessness should be allotted :)

I've had Lyraka friends ask me about that cockeyed, abstract solo after the symphonics, and a few heard Allan Holdsworth-isms in it (maybe for its "outside" sound). Count me as a fan of Allan, but I think it was more a shared, Bartokian headspace. Bartok's compositions were really being played a lot by me at the time (String Quartets 2 and 4 in particular), and wanted to play something quirkily expressive on the guitar. I notice now that section's backing sounds a bit like the Assault Attack/Into the Arena slow arp, pretty obvious how that happened...and how strange to have such an "off" solo over that backing.

But that one, abstract solo was the foreshadow of things to come: intensified self-expression and thinking-outside-the-box.

                                                                             

                                                                               

Entombed By Choice

Quote from composer Andy DiGelsomina, composer and lead guitarist of this song: "I dedicate the lead guitar solos to my little brother Stephen Simonelli, who passed away in 2013, RIP...I'm sorry and I love you, Stevie".

All music, lead guitar, lyrics © 2020 Andrew Neires DiGelsomina. Vocals by Robert Lowe. Co-produced by Andy DiGelsomina and Andre Maquera. Mostly recorded at West Street Digital. Rhythm Guitars: Andre Maquera; Bass: Thom Carvey; Drums: Gary Spaulding.

        

"Gnashing" with Opera Vocalists

On this version of "Gnashing" we worked with opera singers Nichole (Soprano) and Brian (Tenor). Note the polytonality of the composition, with hyper-compressed harmonic layers superimposed over the original. Here the multi-layering (in the form of manifold, clashing tones) serves to emphasize the rhythm, subtly propelling the piece into a dirge.

Symphony No. 1, Mvt. 3

This isn't the final mix, but very close, and plenty enough to get the ideas across. This movement started out as a piece for a string symphony, but midway during composition I realized I needed a very large orchestra and set of synthesizers to most faithfully represent my vision. 

Forgive the overall sound, as this hasn't been subject to a final mix and master yet, it's just there to give fans an idea of the piece.

                                 All music and lyrics © 2015 Andrew Neires DiGelsomina

                                                                                 

       
                                            

Symphony no. 2 Mvt. 1

Completed May, 2018.

PER ASPERA AD ASTRA!

This is the final arrangement and orchestration of a piece I composed during Summer 2017. Lyraka fans will note that this movement is to an extent an elaboration on my "Errandia" motifs from Lyraka Volume 1.

This symphony employs the use of over 120 musicians, including not-yet traditional instruments like synths and electric guitars (much more the former). So, I doubt there's much here to interest a more casual Rock/Metal listener, but the more immersion-seeking listener will assuredly find plenty to like.

Perhaps best listened to through good headphones (I recommend Sennheiser), where you'll find it easiest to reap new rewards with each listen. 

                                                                             

                             All music and lyrics © 2017 Andrew Neires DiGelsomina

Symphony no. 1, Mvt. 4

I really appreciate Dee-ter's vocal here. At first I had a hard time getting past the use of someone else's lyrics, however Wilhelm Müller's words struck a despairing chord within me and fit the music perfectly.

Apparently Schubert felt the words too, at the time of his writing the Winterreise he had been informed of his eventually lethal syphilis contraction.

At the risk of beating the point into the ground, the famous mezzo-soprano Elena Gerhardt once said of "Winterreise" that "you have to be haunted by this (piece) to be able to sing it."

You can hear the employment of my Serial Vignette method of composition, plus the mix of traditional and electronic instruments. Though the "Lindenbaum" lyrical setting intensifies the feeling of gloom and dread during Dieter's vocal part, the movement is multi-dimensional.

The lyrics are Herr Müller's, which are public domain. The vocal melodies are chopped up samples from Diskau's old performance, while all other music is © 2017 Andrew Neires DiGelsomina. All rights are reserved, any infringement upon this copyright will be prosecuted to the fullest extent of the law.

                                                                                 

                                                                             

Symphony no. 3, Mvt. 2

Now that this movement is compositionally completed, I feel a sense of triumph. Love is the hero.

I've only come up with working lyrics for the choir beginning at 1:02 of the movement; these are obviously far from final from all perspectives; they simply illustrate what I'm aiming for with this movement as far as Weltanschauung goes (any political incorrectitude is due to my using Schiller's words to Beethoven's 9th Symphony as an inspiration). I came up with lyrics for this piece after this demo, so the choir is just vocalizing for now.

"Let's all work together toward a world-loving world and
then we'll all love each other, more than friends we're all brothers.
Let's plan a future where we all join as one then we'll
all know the happiness of bless'd nature's sons."

                                                                           

All music and lyrics ©2018 Andrew Neires DiGelsomina, plagiarists will be prosecuted to the fullest extent of the law.

Symphony no. 4 Mvt. 2

Adding guitar, will be back!

All music © 2019 Andrew Neires DiGelsomina

Symphony no. 1, Mvt. 5

Note the extensively embroidered, hybrid composition here, as well as more of my Serial Vignette compositional technique. Though the instruments have been woven together, there is a strong modular side to this composition, evident not just from the overlapping (and at times exclamatorily interjecting) parts, but in how factors such as, say, effects are arranged, automated, and so much more. I paid lavish detail to those and other factors, in order to most faithfully represent what I heard in my head.

The presence of aleatoricism is evident not only in the transitions and rhythms, but to some extent in the sequencing. Of course, overall this is purposeful composition and orchestration, but happy accidents are the meat and potatoes of both the Serial Vignette and Aleatoric compositional styles (not to mention musical performance), and were as always welcomed both during the composition of the piece and its initial rehearsals.

Finally, it was important for me to express a multi-dimensioned listening experience. The sense of depth and distance is just as much achieved through predelay on a good reverb as well as hyper attention to volume and panning automation.

The initial set of themes came to me in a rush of inspiration, and from that point I couldn't stop writing.

                                                                           

All music ©2015 Andrew Neires DiGelsomina