And finally.... after 9 months of blood, sweat and tears, here it is: The last movement of my 1st symphony.

[Simon Godden]

This has probably been my biggest challenge yet. Writing a symphony, especially one of a cyclic nature, is difficult. I'm allowed to say that now, cause I've just done it.

Most of you listeners that follow my work will have already listened to the first three movements, but it might be an idea to refamiliarise yourself with them before you listen to this because it is filled with themes from the previous movements that have been developed and weaved in with the main theme of this finale. The main theme of this finale is a simple six note riff that is '' doh - ray - me, me - ray - doh'' in a minor scale. You will here it right at the beginning on the 2nd violins and violas. Then follows numerous variations of this motif of which several longer melodies arise and intertwine with material from the rest of the symphony.

I hope you enjoy listening to it with as much painful pleasure as I had writing it.


Cheers,
Simon

[Adrian Allan]

Had a very brief listen so far and my initial impression is that it is good, with your usual eclectic mix of styles and trademark devices - such as your prominent percussion. Now you'll face the equally daunting task of making sure it is a professional standard of score on Finale, with all the little details in the right place. So well done so far and good luck in the longer term.

[Nalinikanth Josyabhatla]

Hello Simon, this piece proves as a fitting Finale to your work.
Here are some remarks I felt:

+ve:
1. The introduction is slow and gradual with the main theme, CDEb-EbDC almost acting like an Ostinato pattern throughout.
2. The Music intensifies and explodes at places
3. And your trademark style: calming the music and listeners down after each explosion:-)
4. I saw your earlier Themes more twards the end (more like a Recapitulation of the entire Symphony)
5. I could even hear your earlier Rhythmic patterns in this piece
6. Sound quality is good
7. Good usage of Trills

-ve:
1. I felt that the percussion sometimes is not in Sync with the piece (not timing, but the pattern)
2. The Winds at times were jarring on the ear
3. It requires a very big Orchestra to do justice to this work

Thanks...

[Simon Godden]

Thanks Adrian. I'm not sure how daunting the task will be on Finale, but I've heard it's a lot easier on Sibelius (by a few people, some prefer Finale). How are getting on with Sibelius now?

[Simon Godden]

Thanks Nalinikanth,

When the percussion is not in Sync it's on purpose, I've tended on a couple of occasions to fuse subjects of different metres and the percussion carries it, quite successfully in my opinion.

I'll have to go back and listen out for screechy woodwind. I might have to para EQ it, but thanks for letting me know.

I wouldn't say it requires anything more than your standard symphony orchestra (double/treble woodwind with a flute and bassoon player doubling on piccolo and double bassoon occasionally, two trumpets, three trombones, one tuba, one timp player and 3 or maybe 4 percussionists). It certainly doesn't require the forces that Strauss (Richard), Stravinsky or Mahler might have requested. However, there's no doubting that ANY orchestra would do it better justice than the best of samples.


Oh, and your positive point number 4 describes what I refer to as a cyclic symphony.

[Adrian Allan]

Getting on fine with Sibelius - but need some time to understand certain elements of scoring - such as harp and slurs for woodwind - all of which I took for granted at the early stages.

[Simon Godden]

I avoid the harp, or if I was desperate for it, I'd look it up. Woodwind is easy. If more than one note is issued in the same breadth without tsk-ing or fluttering, then it has a slur.

[Adrian Allan]

Yeah sure - but then there is the question of "does that phrase sound better slurred" or broken into a combination of articulated and slurred notes, etc. Little things like that which I didn't need to consider at the VST stage (Vsts of the future will no doubt specify slurs/ single bows, etc).

[Simon Godden]

I've always considered slurs at the initial stage. To me, it's always been part of the initial compositional process. For example, if you're having a crescendo made up of groups of semiquavers on strings or woodwinds, slur them until about two or three bars from the climax then 'staccato' them. It gives the crescendo more of a thrill (see the crescendo in my second movement).

Hey, I've just been getting some great feedback from the KVR forum. They're all discussing where they can find my previous movements and telling each other. You guys don't have to search for them because all the previous movements are on my profile page.

[Steve Chandler]

Simon,

Your finale is quite enjoyable. It got me to listen to the whole symphony, which got me thinking about the weakness of samples. I say that because as great a job as you've done in rendering all four movements they still sound, un-real. As someone with just a bit of choral experience I have to say I found your description of the finale's theme very Simpsonesque (Doh! instead of Do, Ray rather than Re, and Me instead of Mi). Thanks for the chuckle.

I just now realized that you have your pieces on shuffle, so what I thought was the second movement was in fact something else. What's a Stour?

OK the reason I decided to respond was to see if the community wisdom here had figured out how to change the order of pieces in one's playlist?? You would naturally want to put your fourth movement after the other three, but I haven't figured out how to do that short of deleting everything and re-uploading it all. That would certainly be a PITA. So if anyone has an easier solution it would be appreciated.

[Peter Dewar-Finch]

Well, I like this piece very much. Right from the first notes it sounds like a final movement of a symphony. Great allegro, full of imaginative devices, very captivating of the senses. I think percussion is often underused in modern neoclassical works and I’m pleased to hear the balance redressed here. It is difficult to make percussion anything but accompanying incidental colour but you have achieved orchestral integration here. I find the hurrying mood and pace exhilarating. As a final movement it certainly achieves its standing as a final movement as it contrasts starkly with the preceding movements. I like sharply contrasting movements. I find the whole symphony rather in the late Viennese mode in the way in which the movements are unified by common themes.
But hey, I’m overstepping my brief here.....

[Simon Godden]

lol... I could have sworn I just read this on Facebook. If you haven't heard the Scherzo Peter, it's on my profile page. You might find the symphony more complete.

[Peter Dewar-Finch]

I heard the Scherzo and I took it fully into account, along with the Adagio and your first movement. I have listened to them all in context and my appraisal was based on that. I left a note on Facebook in case you did not see this one.