Sinfonia Canadensis (Symphony no2 - first 3 movements)

My goodness, Michel. You don't give yourself enough credit. Had I the capability to produce a composition of this quality... I must say I'd probably brag a little bit! Seriously, your humility is amazing. Now then, on to the review.

I am also one of those unfortunate individuals who lack the training and sophistication to really dive into the music without a rather large amount of studying. That said, this review is going to focused on the first movement, and once I have managed to study the rest of what is here (and hopefully the subsequent movements as well, soon?), I shall return with one of my little novellas like I wrote for my IB Music exam.

1 - Forêts Boréales

The first movement was absolutely grand, in every meaning of the word. The opening pulled me right in to what was going, and after this initial "tug" of sorts, I felt suspended by the endless harmonic surges that seemed to make up the entire first thematic section (up to measure 39). The rhythmic motif that you introduced in the opening fanfare had this element of vigor that is rather difficult to put into words; the point is, it really drove this section forward, especially once placed contrapuntally against the other, descending motif of this section. It was all in all a great opening, and had me hooked from the beginning.

Then, measure forty and that tantalizing clarinet solo. Je ne peux dire que "bravo." It was a lovely sort of respite from the constant build up of energy introduced at first, and yet you still managed to hold enough tension in the accompaniment to move this along as well. The first time I listened to this, I was honestly expecting more out of this meno mosso, but your quick return to Allegro worked perfectly.

The way you reinstated significance upon the original theme of the fanfare certainly served to sort of "reaffirm" the reality of the piece, for lack of a coherent thought process at the moment. And then, out of nowhere, the lovely little trumpet line at measure 60... I chuckled a bit when I first heard it; it seems to come right out of nowhere, but as it continues, it of course fits perfectly with everything else. And I felt as though it were an interesting play on the rhythmic motif introduced in the preceding clarinet solo, but my brain works in funny ways.

Ah, I see that trumpet bit wasn't stand-alone; taking a better look at the score, you actually introduced it in the strings a measure or so beforehand. Silly me; I suppose it would be more noticeable in a live performance, eh?

All in all, the rest of the first movement here was simply masterful. Your note in the introductory post here was a bit of an understatement; this is highly contrapuntal, from what I've seen and heard so far. The mélange of thematic motifs in the final few measures was one of the grandest endings I've heard in some time - et vous osez de me dire "je ne suis pas fort en écrivant les fins !" Comment ça ?! It was marvelous, Michel. Absolutely marvelous.

As I've said, I'll return after some analyzing of the rest of this piece and expand my little review here. Yes, little. >.>

Very nice... sweeping music, really lovely.

Where I found your first symphony (which is really your 4th symphony but you've withdrawn the first 3, or something like that) lacking narrative, the first movement of this second symphony certainly has it.

Chip

well, I'm glad you DID enjoy the 2nd symphony.
personally, the narrative in the 1st is much clearer and is actually intended as "narrative", while the 2nd symphony does NOT have the same intention. it's interesting that you see more narrative in the 2nd than the 1st. so it's a sign that we really read very personal interpretations into what we listen to!

anyways, glad you at least liked the 2nd symphony, narrative or not, it's still one of my babies.

(and technicaly, the 1st is the 4th, and the 2nd is the 5th... the first three symphonies were withdrawn, though really the 1st was massively reworked into what is now the "first" so did my original 2nd become my 1st and my original 3rd become my 2nd? oy, this is too confusing.. which is also why I titled these symphonies rather than simply number them)

What an absolutely stunning explosion of ideas this is! I love the opening harp figures, mixing with glockenspiel and truly exuberant woodwinds. One of the first posts mentioned Respighi, and I agree with that but it also has some R. Strauss and something else very unique and personal inside it. I commend you, QcCowboy, for labouring over such an amazing symphonic idea.

In this, I can feel the sun's warmth hit my skin as it breaks through the clouds upon some rocky plain on the Canadian shield. The air is thin and nearly calm, but a gentle breeze floats down from the blue, barely cloudy sky on a clear summer afternoon. Whether programmatic or not; whether tone painting or not, it's just awe-inspiring.. and, what's more, it is inspiring! I especially love the resolution... it never wanders, but always tells us where we are.

Thank-you Nordreise (whose name sounds suspiciously like "northern ice").

Glad it was evocative for you.

It's interesting that the discussion on the purpose of music came up in another thread... I was VERY analytical in the composition of this piece. Despite that approach, my intent was emotional. So I think that may answer part of your question in the other thread: a contemporary composer may have a very analytical (ie: formal) approach to music, but in the hopes of achieving an emotional response from his audience.

You are correct, sir! It is easy to see the intense mathematical relationships, and if not precisely algebraic and clockwork, they simply 'feel' structured. The music is full of numbers, if that makes any sense to you. It is a great testament to humanity to be able to transcend mere numbers and biases and see the grand beauty of things like this. I very dearly hope that you continue making music and promoting it, and this idiom of yours, whether you choose to create tonal or post-tonal versions of it, across the world. It's easy to see in this music a transfiguration, a total snubbing of the idea that we should distinguish atonal and tonal music. As the march section of "Le carnaval romain' from Berlioz uplifts me to heights of contentment, and as the dissonances of Beethoven's Prometheus and Coriolan works plumb darkness, so to do yours.

I'm not brown nosing, though. I truly appreciate this music. I must say that I love the way you handle the brass most of all, and its resolutions; it is new to my ears. Also, "Nordreise", meaning Northern Journey, seems to fit for this music... what a coincidence! You have inspired me to go study now. Thanks!

Beautiful score. I was expecting a longer piece - nothing is missing, of course. Got an orchestra to play it? It doesn't look like particularly thorny music to play - for a professional orchestra, I mean. I'm sure the players - as well as the listeners - will enjoy playing your music very much.

Question: do you write down an orchestral score starting from a piano version, to condensed, to full score? I understand that some parts may "come out" fully orchestrated in your head, or for some others you may need to work out harmonies or counterpoint issues and may need to sketch down things in a shorter form... but do you actually follow anything like the above steps? I suspect it is a combination of things. And last minute changes can occur all the time once you have the full score and all the notes in front of you. Just wondering, since I've been cooking something "large" (and yes, NOT Baroque) in my head for several years, and was getting ready to get to work on it.

Anyhow, wonderful achievement. It makes me proud of having a Canadian sister-in-law (she sings in the Toronto Mendelssohn Choir)

LONGER????

the first three movements is around 15 minutes, and there are still two movements to go! so in all it will be around 25 minutes. Long enough for me!


No, I generally compose directly to full-score. Sometimes I'll sketch some things down in a really condensed score format (I did this for the adagio of my 1st symphony), but not in this particular case.

The Abbotsford Symphony Orchestra in BC are interested, but they're not quite large enough at their full complement to handle this score. However, the conductor examining this score DID end up commissioning a new work from me He seems to have become quite a fan of my music.

Originally Posted by QcCowboy

LONGER????

the first three movements is around 15 minutes, and there are still two movements to go! so in all it will be around 25 minutes. Long enough for me!


No, I generally compose directly to full-score. Sometimes I'll sketch some things down in a really condensed score format (I did this for the adagio of my 1st symphony), but not in this particular case.

The Abbotsford Symphony Orchestra in BC are interested, but they're not quite large enough at their full complement to handle this score. However, the conductor examining this score DID end up commissioning a new work from me He seems to have become quite a fan of my music.

wow, congratulations!

I meant, compared to your other symphony/music... it could be that this one seems to go by quickly because it IS enjoyable to listen to... or something like that