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- Submitted: Jan 25 2012 10:55 AM
- Last Updated: Jan 25 2012 10:55 AM
- File Size: Unknown
- Views: 1849
- Downloads: 209
- Genre: Contemporary
- Sub Genre: Post-modernism
- Form: Symphony
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Symphony no. 2
0
There are many of you who have composed two symphonies (or more) so there is mine too.
It is written in four movements and total duration is about 25 minutes. The main idea is centered in the first movement which uses a three-tone cell of B-F#-G, first hidden in violins and then confirming the importance in loud horns. The violins continue to sing the same motif with expanded use of other pitches and die away. Only english horn sings a meditative melody.
Second and fourth movements are both called "Action". While the second movement acts like a short scherzo-like intermezzo in perpetuum mobile style, the fourth movement shows more rhythmic freedom and more drama as well. The third movement, called "The play of the light" is my favourite movement and shows a slow development towards the climax, using the opening motif from the first movement. There is a prominent harp solo, derived from the solo composition with the same title.
My second symphony was written for the 50th anniversary of Slovenia Radio Symphony Orchestra. It was premiered on 23rd April 2009 with good success.
I hope you will like it as well and comment about it!
Yours
Crt Sojar Voglar
It is written in four movements and total duration is about 25 minutes. The main idea is centered in the first movement which uses a three-tone cell of B-F#-G, first hidden in violins and then confirming the importance in loud horns. The violins continue to sing the same motif with expanded use of other pitches and die away. Only english horn sings a meditative melody.
Second and fourth movements are both called "Action". While the second movement acts like a short scherzo-like intermezzo in perpetuum mobile style, the fourth movement shows more rhythmic freedom and more drama as well. The third movement, called "The play of the light" is my favourite movement and shows a slow development towards the climax, using the opening motif from the first movement. There is a prominent harp solo, derived from the solo composition with the same title.
My second symphony was written for the 50th anniversary of Slovenia Radio Symphony Orchestra. It was premiered on 23rd April 2009 with good success.
I hope you will like it as well and comment about it!
Yours
Crt Sojar Voglar
score?
Sorry, I cannot put the score on, it's published.
Crt
Crt
Despite being a symphony, this piece could easily be mistaken as a movie soundtrack, out of the orchestral effects and harmonic episodes.
A typical feature in post-modern music is the abundance of tuned percussion. You seem to have made an interesting usage of it, esp. in the 2nd movement (which I found to be particularly interesting). It has at times a certain 'phantom-like' atmosphere, but the 'action' passages are very convincing.
I find the 3rd movement a bit static and almost languishing, especially at the beginning. However, things start to pick up - if a bit slowly - after 2:30 (I'm sorry not to have the score). The true build-up starts at 4:25, and is filled with suspense (low brass, timpani rolls, distant woodwinds and tremolo strings). I found startling, however, that after reaching this climax you seem to 'go back' to where you begun.
The "action" in the fourth movement is convincing. I find an interesting passage at about 1:00, the dialogue between violas and violins with the occasional tuned percussion touch. The 'primitiveness' of the rythmic fragments remind me a lot of Stravinsky's Rite of Spring.
All in all, a notable work. Kudos to you for having this successfully premiered. Thanks for sharing!
A typical feature in post-modern music is the abundance of tuned percussion. You seem to have made an interesting usage of it, esp. in the 2nd movement (which I found to be particularly interesting). It has at times a certain 'phantom-like' atmosphere, but the 'action' passages are very convincing.
I find the 3rd movement a bit static and almost languishing, especially at the beginning. However, things start to pick up - if a bit slowly - after 2:30 (I'm sorry not to have the score). The true build-up starts at 4:25, and is filled with suspense (low brass, timpani rolls, distant woodwinds and tremolo strings). I found startling, however, that after reaching this climax you seem to 'go back' to where you begun.
The "action" in the fourth movement is convincing. I find an interesting passage at about 1:00, the dialogue between violas and violins with the occasional tuned percussion touch. The 'primitiveness' of the rythmic fragments remind me a lot of Stravinsky's Rite of Spring.
All in all, a notable work. Kudos to you for having this successfully premiered. Thanks for sharing!
That's funny, many people said to me, that my music would suit in movies. Thanks for review.
Oh, and other works are by Nino Rota and Ottorino Respighi.
That interview in the beginning is with you, right? Can you summarize that a little? I think you are talking about the process of writing?
Yes, this is me.
This is the translation of what I have said:
I intend to write the largest number of symphonies in the history of Slovenia (the record is, of course, 9, by Blaz Arnic). The (sad) truth is, that Slovenian orchestras rarely play symphonies composed by Slovenian composers so this was pretty much a priviledge for me.
Before writing a symphony I usually listen to another symphony (contemporary, of course, although classical and romantic composers are still inspiring considering form and content), analyze it and then say to mayself: He is damn good! Why not trying myself? That was the Third symphony by Estonian composer Erkki Sven Tüür which has impressed me.
I believe symphony should have some dramatic experience and energy which is not necessary in typical classical structure. Yet, I am considered to be "conservative". I don't agree. Too many contemporary works by composers form middle Europe (which have a large media publicity) still try to find some new sounds which haven't been used before. I believe it's not possible to discover something new, but you can use less familiar sounds to make them audiable and user (listener) friendly.
So when I think about public audience, I first picture myself as a listener of music. And if I don't like the experience, I shall not "punish" audience by doing something similar. For example: I am not fond of single composition longer than 1 hour because rarely the composer can keep the musical energy high enough not to become boring (Mahler is the positive exception).
This is the translation of what I have said:
I intend to write the largest number of symphonies in the history of Slovenia (the record is, of course, 9, by Blaz Arnic). The (sad) truth is, that Slovenian orchestras rarely play symphonies composed by Slovenian composers so this was pretty much a priviledge for me.
Before writing a symphony I usually listen to another symphony (contemporary, of course, although classical and romantic composers are still inspiring considering form and content), analyze it and then say to mayself: He is damn good! Why not trying myself? That was the Third symphony by Estonian composer Erkki Sven Tüür which has impressed me.
I believe symphony should have some dramatic experience and energy which is not necessary in typical classical structure. Yet, I am considered to be "conservative". I don't agree. Too many contemporary works by composers form middle Europe (which have a large media publicity) still try to find some new sounds which haven't been used before. I believe it's not possible to discover something new, but you can use less familiar sounds to make them audiable and user (listener) friendly.
So when I think about public audience, I first picture myself as a listener of music. And if I don't like the experience, I shall not "punish" audience by doing something similar. For example: I am not fond of single composition longer than 1 hour because rarely the composer can keep the musical energy high enough not to become boring (Mahler is the positive exception).
enjoyed the live performance a lot 
I like this atmosphere and bubbles in my stomach when listening my orchestral compositions live. 
It is your music....hence it would not break copyright!
I believe this one has been forgotten for a while... I will attempt to revive it on this site. 
Hahaha... I haven't forgotten this work at all, since it was one of the first pieces by you I ever reviewed. But then again, given its quality and the comparatively small amount of attention it has received, this could be a possible nominee for Most Underrated Piece in next year's YC Awards.
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