Finale with electric guitar sounds like something Schnittke would do. There's some interesting stuff in this movement. Some wonderful moods, harmonies and expressions. But again the main theme is repeated constantly in a virtually unchanged state.
It is just incredible. The length, the sheer size and the orchestration, I can't understand how you can write so much amazing music in a fairly short amount of time. My 2nd symphony is right now maybe 50 minutes long after 4 months of work on it. But you wrote an almost 2 hour long symphony in around 6 or 7 months while still writing other works at the same time. I absolutely admire your work, just amazing!
An impressive endeavor. I would certainly consider cutting back on the kitsch and forming everything into direct lines before breaking the material up. Works of a less formal nature live and die on their shared vision. For all the energy that you have put into this, I adjure you to work to make it less disparate. Take a break for as long as you need to get this piece out of your consciousness and then come back to it with a clearer head. Best of luck on future projects. You have talent!
I listened to the 1st movement and then after that decided to listen to the 3rd movement...thinking it was shorter when actually the 2nd movement was shorter...so while out of order what I see as the main pattern is not much affected by what comes 1st or 2nd or 3rd...as I'm not sure the construction of this work makes much sense. There are a lot of different musical ideas strung together but none are really developed even when they return they are must repeated..there is no shape or sense of momentum and not a single climax built in either movement...things get louder, often suddenly, but there is no sense of any musical structure being built in either of the movements I listened to. In forlorn a number of recognizable tunes or motifs come and go and they are simply repeated but are not subjected to development. Some ideas come and never return...we don't know if some of them are actual themes or just noodling. Forlorn oddly is about arguments, but the movement doesn't really engage in an argument musically. The ideas are not that interesting, development is almost non-existent and the structure seems little more than stream of consciousness. I'm sorry to say that I won't be able to invest 1 hour 53 minutes to listen to the complete work. I would suggest working shorter and focusing on one or two strong themes and trying to develop them in a tight focused movement...I wonder if the programmatic aspect of this is unhelpful when the musical narrative is not convincing...you keep changing the subject. You have done better work, but your abilities are right now better suited to less ambitious forms...the titles of the movements are in a way superfluous as I don't understand what this music is trying to say. There are a lot of gigantic "symphonies" being written by very young composers who are simply have no idea yet about form...If you can't master form you cannot write a compelling symphony. Best wishes, John
@johnpcomposer I get a lot of what you are talking about, but most of this lack of structure and thematic development was to make the music reluctant and unpredictable. It is less about the themes and more about the (like you said) stream of consciousness. We usually listen to classical music trying to recognize themes and follow them through and see how they develop, but I decided to become very experimental UNTIL in the Finale. To create a strong contrast. I think you might enjoy the finale very much if that's what you are looking for since the finale has a way more thematic development, counterpoint, and it is a movement I think you would enjoy listening to. Thank you again for the feedback, I understand if you don't feel like listening to the whole symphony because of the unusual and weird elements I am using to create it but I highly recommend taking a listen to the finale. Best wishes - I make music and stuff
@@Imakemusicandstuff333 It's a high risk strategy to compose something that long that doesn't cohere structurally. By the time the finale comes around you've lost most people's attention...the music, no matter the formal intention still has to provide interest...there are still no real climaxes in movement 1 and 3 and no real sense of drama or momentum and you need those things to bring listeners along...the fact is you do repeat things quite a bit in movement 3 you just don't develop them. It's also easier to compose in a stream like that too than creating tightly structured movements and much easier to repeat than develop.
@johnpcomposer it is very true. I strongly agree with you. But I'm not a people pleaser. I just want to compose what I want to compose and this time it was this. Although lots of my upcoming music is way more structural.
@@Imakemusicandstuff333 Just one other thought for you to consider. You mentioned composing what you want versus what other people want...every time we compose it's an opportunity to improve. The symphony in particular (especially when massive scale like this is involved) demands of us to stretch ourselves in our abilities to master structure and our developmental skills...it feels you've let this opportunity mostly go by the wayside. I have often heard this from young composers defending a carefree or self-indulgent attitude to their works..."that's how I wanted it to be". When in fact it translates to 'this was easier to do and I wanted to finish something more quickly without having to fuss with form and the rigors of interesting and varied development"...the endeavor involves the whole idea that we've put each movement's content in the correct and logical order (and that includes not only formal order but emotional order). In the 3 movements that I have now listened to I don't find this element of careful craft at work. This is just to say that habits of thought are important and each time we approach a work and kind of take the easy way out, we weaken our creative force. At times I have been tempted to put out something quick just to have something to post, but when I open a new score and begin work...I realize I cannot rush the process...so that no matter if I'm working a 3 minute divertimento or a 15 minute symphonic movement, I have to give each piece my full creative attention, and all the details that go with it. In this sense there are no unimportant pieces. Each one should be the best it can be. I don't mean to preach, but you have talent and you should guard it well. As Chief Inspector Thursday famously used to say (I think they were his last words in the final episode of Endeavor). Mind how you go.
I don’t publish my scores on musescore because I don’t feel like the score is good enough. There are always small things that could be changed, but someday I’m planning on publishing a lot of my scores. Sorry for the inconvenience.
@@hipepleful sadly not, but I will release the scores for free to download and study for my first 3 symphonies online (I am still composing my third) sometime in the future :)
