4th Movement Symphony no.1 in c minor

[Dan and Deryn Cullen]

Composed as is my want using sonar and ewqlso gold, this movement was completed in a mad weeks work. See what you think

Dan

[Adrian Allan]

When presenting music of this length and scope I think it's a good idea to tell us more about your influences, aims and composing method - cos it's such a lot to take in. At least tell us the tempo marking - eg. andante maestoso. And how does it fit into the rest of the symphony ?

For example, I'd like to know if all of this is scored in traditional notation before being rendered using VST instruments. I'd also like to know if this music follows a form like rondo or sonata. I am listening now and to me it sounds like through-composed.

If I knew more I could maybe comment more, but there are sections that I like and other sections which aren't as successful. I particularly liked the brass entry around 7:00 and the drama thereabouts. Not so sure about the combination of rasping instruments right at the start.

The main problem I have with the music is that of being able to follow a particular theme or direction in the work. Perhaps it needs more listens to take it in - but you could maybe give us a breakdown of the different sections.

So basically I'm saying "some nice moments but having problems taking it all in without some programme notes"

[Dan and Deryn Cullen]

Coming to composing from a self taught background routed in prog rock and songwriting, I guess my approach is somewhat different to that of a classically trained composer. My influences? Well, Mahler, Stravinsky and to a lesser extent Holst are composers who have always spoken to me and consequently influenced what I hear in my head. Film composers who I admire and take inspiration from are Goldsmith, Williams, Shore, Newton-Howard and Elfman. Other influences include Frank Zappa, King Crimson, Van der Graaf Generator/ Peter Hammill, Peter Gabriel and Pink Floyd to name a few.
Eclectic.
It was not scored before being rendered - this is not how I work. I tend to create my works from scratch in Sonar using EWQLSO Gold, then export a midi only project into Finale if I want it scored.
The form is indeed through-composed, but there are various themes which recur and develop. That's it really. I appreciate this is not a conventional way to work, but it works for me. When inspiration hits, I rarely sketch ideas or a framework before putting them down.

[Adrian Allan]

Thanks for the reply

Since it's through composed and follows no conventional format it takes a lot longer to take in - in my opinion. So maybe after a few listens it will grow on me. Now you've explained how you work I'll take another listen and tell u what I think.

[Jason Munn]

Hi Dan, Hi Adrian,

I've just recently become a member of this forum and I share your sensibilities and compositional style, Dan.

I was very impressed by your track - some great material here. There are some truly pretty moments and I like these more than the darker, louder moments. I felt the louder moments seemed imposed upon me, rather than built to, or allowing me to reach those moments through a certain path. I hope you see what I'm getting at. But still, technically impressive.

Best regards,

Jase

[Dan and Deryn Cullen]

Thanks guys.
'Louder moments impose'. From what I remember when this was written, the whole symphony is about picking yourself up after life has 'imposed' a rather dramatic event that comes from nowhere :)
Also in my mind beauty cannot exist with darkness and pain so 'pretty' is prettier when there is something to contrast it to. At least in this piece.
This maybe makes more sense in the context of the complete symphony, which, if anyone cares to, they can hear it on our profile page.
Thanks again for your comments :)

[Per-Erik Rosqvist]

Downloading it... Will return and give you feed, during early night CET ;)

Be back!

[Per-Erik Rosqvist]

OKay I am 4minutes in to it and enjoying it tremendously...

No similiarties I think, but somehow i come to think of the Jupiter symphony by MOzart (no 40, maybe 41), but I don't know why.

I love the tonal language... (Now at 6 minutes) ...The "crescendo" in the endning was really really good!

Damn good work!

/Per

[Dan and Deryn Cullen]

Thanks for that :)