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The final part of a loosely titled symphony. The two earlier movements were posted here a while back. This one more strictly conforms to its mode.

It starts with a brief canon followed by the main theme, etc. The canon contains some motivic material. Modulations here and there will be apparent.

 

A note about the score. No need to recap on how useless my daw’s “notation view” is, I noticed it’s substituted rests for a few notes in the celli and bassi which it won’t allow me to correct. Sorry about that…. Plus there are just a couple of discrepancies compared with the rendering. Minor details. One day things will start getting better!

Be assured I'm no plagiarist! If it sounds vaguely like Peter Mennin that's because he used this mode a lot.

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Hi Dane.  I found this quite a convincing musical event.  I found it to be touching on a certain 'nerve' or vibe - which was sustained through-out.  I think it is very well crafted, and especially liked the contrasting interplay with the voices around the 2 minute, iirc.  The only thing I was reaching for - was a shift in the rhythmical density, - either less, or more.

Wonderful work here. Thanks for posting.

I did hear some resemblance to Mennin since his style seemed to be built on  rhythmic movement  with a sort of tonal ambiguity. Not a bad thing at all. I liked the way you put this together! Should go well with the rest. 

Thanks for posting!

Hi Dane,

exciting as usual from you. Very innovative and appealing. Sound is excellent.

I guess a fourth movement is coming. Look forward to that.

Cheers,

Kjell

Hi, Gregorio,

Many thanks for listening all though and your helpful comments. It was a bit of a technical exercise once I'd decided on basic themes and fragments. I'm having a look at the rhythm and don't understand myself ! about rhythm. I didn't want a basic common or compound time throughout but I didn't want it amorphous either. I think more silent moments might help. When I review the work as a whole I'll think about that. It'll probably end up with a more fractured rhythm!

Again, thank you.

Dane.
gregorio X said:

Hi Dane.  I found this quite a convincing musical event.  I found it to be touching on a certain 'nerve' or vibe - which was sustained through-out.  I think it is very well crafted, and especially liked the contrasting interplay with the voices around the 2 minute, iirc.  The only thing I was reaching for - was a shift in the rhythmical density, - either less, or more.

Wonderful work here. Thanks for posting.

Tim, hi there.

Thank you for listening. Hope it wasn't too much of an ear-bashing. Mennin was fond of the locrian mode. It manifests so well in his 3rd and 5th symphonies. I would never dare to compare myself with Mennin who was one of America's greatest symphonists IMO ! I came upon his 5th first and never looked back. Normally, writing a formal thing I'd have to avoid his music like the plague. I thought I was in the clear this time but it still has hints!

Cheers, and thanks again.

Talk later,

Dane

Timothy Smith said:

I did hear some resemblance to Mennin since his style seemed to be built on  rhythmic movement  with a sort of tonal ambiguity. Not a bad thing at all. I liked the way you put this together! Should go well with the rest. 

Thanks for posting!

Hello there, Kjell

Thank you for listening and your encouraging comments. Much appreciated. I try!

As for a fourth movement - don't know yet. In the locrian mode it brings out a new problem: so are the first two movements. Can it work without palling on the ear? (The first movement will anyway need a makeover. When I listened to the 3 together it sounded too abrasive and the themes could be better developed.) Well, lockdown might give me enough time to think about it. Let's see....

Thanks again, Kjell.

Dane

Kjell Prytz said:

Hi Dane,

exciting as usual from you. Very innovative and appealing. Sound is excellent.

I guess a fourth movement is coming. Look forward to that.

Cheers,

Kjell

I regret I don't remember well the earlier movements of this symphony Dane, it would be great to place this in context because it is an interesting variation on your approach as I know it.  This is restless and evocative and it is a wonderful exploration of the expressive possibilities of string orchestra, yet not as strongly flavored as some of your other works as I remember them. I do think I remember a wider range of instruments too but I'm probably wrong about that, with your imagination there's no limitation here certainly. Are the other movements posted where we can hear the full work?  My hearing is not good but it seems your audio resolution is somewhat lower on this, possibly due to the length of this piece, well you can't have everything I guess. Great stuff! 

Hi, Ingo,

Many thanks for listening through it and your generous comments.

Yes, it was more a technical exercise but the mode (locrian) allows expressive possibilities because it can't resolve to a tonic chord. None of this dominant-tonic stuff in the home key! so it keeps driving forward. (It's possible to use chords within the mode that sound like a major or even minor key. I did modulate here and there as I'm not clever enough to spin out a single modal key for near 5 minutes!

As I said in the intro I was once held hostage by one of the American greats, Mennin, whose symphonic work I find tense, energetic and beautiful. I haven't listened to his works for some years but am still wary of the influence.

As you mentioned the second movement here it is. Soloists against muted strings.

Once again, thank you for your encouragement.

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I've listened to the two movements together Dane and it makes for an enjoyable study in similarity and contrast. The instrumentation and harmonic materials have continuity but the form and feel especially are very different.  The second movement is ruminative and introverted. The solo instruments contribute to the feeling of isolation and the use of lower strings adds a nice weight. Woke up my speakers too! :).

The third movement has much more energy and some agitation which then for me at least gives way to determination which leaves me on an upbeat. ( Unlike everything else in life over here as we wallow in drama and trauma.)  I did sample some Mennin and there's some resemblance but I wouldn't have made a connection on my own. It does seem that he goes on quite a ways in one key, is that typical of his work?  That would be challenging, I seem to remember a lot of tympani also, maybe a bit too much.

Can you give us a link to the first movement of this work as well?

Oh dear....I'm sorry to say the first movement is a disgrace by comparison!  :) A job card has been raised to overhaul it. Once I get it up on the lift I can see what's wrong underneath it!!

I will put it up again, once it's in a better shape, promise.

.

Hi Dane,

What kind of notation software do you use? I think you can do a better job with making the score clearer, this is not your fault its the software, I believe that the old versions of Finale had this where notes are on top of each other or too close to each other.

As for the music, its engaging and keeps the listener interested. Nice dialogue between the string instruments, like a conversation and a story. I think this can be used in a film as a soundtrack, would be very fitting.

Thanks for sharing.

Regards,

Saul

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