Atlante Symphony in four Movements

Hi,

My name is Marcos Oliva and I alive in Brazil, after long six months I finished that score, is my first Symphony in four Movements, also can be considered as a "Symphonic Poem" therefore was inspired in the legend of the lost continent of Atlantis and each Movement refers to one of the four elements, the fire, the air, the water and the earth.

Like to know the opinion of everybody in the forum and also clear some questions that can come have it.

Atlante Symphony In Four Movements

Full score, instrumental parts sheets and MP3 files.

Atlante Symphony First Movement (Langsam) - The Fire

http://www.archive.org/details/Atlante_Sym...ov_1st_Revision

Atlante Symphony Second Movement (Allegro) - The Air

http://www.archive.org/details/Atlante_Sym...ro_Marcos_Oliva

Atlante Symphony Third Movement (Langsam Schleppend) - The Water

http://www.archive.org/details/Atlante_Sym...nt_Marcos_Oliva

Atlante Symphony 4th and Last Movement (Feierlich und episch, Langsam Schleppend, Bewegt) - The Earth

http://www.archive.org/details/Atlante_Symphony_4thMvt

Notice: The score of the Second Movement needs some revision mainly in the markings of dynamics and in the techniques of stringed instruments.

My difficulties in that work are clearly in the dynamic, because my markings reference of sound is a MIDI.

Marcos Oliva

Hey. I've just had a listen through the first movement - unfortunately, at the moment, that's all I have the time for but I'll give you my first comments on what I heard.

Definitely a contemporary composer at work here :). Your weaving off cross harmonies suggest this. I particularly liked your syncopated accents on that semiquaver melody. Thought that was very well done. I also liked your < cresc - dim > in the piece (i.e. starting off small, growing to a climax, and then subsiding away). I'm unsure what your trying to depict here but I though it was fire in some sort - starting off the fire, having it blazing away and then finally dying away with the final string chord.

I see you've used the word 'brassy' in the horn parts quite a few times. I know this is allowed but maybe you might want to use the french word cuivré - I think that's what your looking for and that's the accepted term for the 'brassy' sound - but then again, I could be wrong. Hopefully someone will back me up or shoot me down! ;)

At the beginning with the tremolo strings, how about adding in the viola line as well to flesh out the chord and give a bit more backing as well? And that opening marchy motif, when I saw that I thought wouldn't that be great with some sort of a snare drum, like a bolero beat going throughout to keep this 'march' like beat going. It's very effective.

Your notes on the viola around figure 4 are quite high, possible but may be screechy. How about bringing this down an octave, or giving it to a cello line? (cellos suit higher bits better than violas). Some of those bassoon lines are great, how about putting them up an octave to really get them to sound out? Same goes with the first flute part as well. And using the low range of the clarinet, especially in the quieter bits at the beginning and end to add to the atmosphere. I'm not a brass person so I can't comment on those lines, sorry!

As regards its name, I don't feel it's 'symphonic' as in symphony but as you put it, 'symphonic' as in symphonic poem. It's more of a describing nature than anything else.

Even though it's only one movement, I hope that review helped! Well done and keep on writing. You have a good contemporary talent there. Keep up the good work. :wacko:

P.S. With the score, the addition of parts is unnecessary and personally, I think a bit dangerous. With score and parts, anyone could steal your work straight away. I wouldn't risk it. Just have a full score and mp3 and you should be safe enough. Something to keep in mind for later pieces.

vc não tem midis? minha conexão é lentíssima para mp3. tentei baixar do seu site mas não deu. abz!

eu consegui, tenta apenas abrir, Frantz :thumbsup:

(how I love to talk knowing not many people will understand :()

Hello, to everybody I thanks. ..! First I apologize therefore I have a certain difficulty for write in English and is posivel that my text be in some stretches confused a little, but I am going to find to be clearest possible one.

Thomas, I very thank yours considerations therefore are fairly according to what do I think and with the my difficulties to compose.

I think that after Schoenberg the song earned with all certainty an new structural element , we be able to see that in the composers of the call "Electro-Acoustic School", Stockhausen with her "ringmodulatoren", the Concretism of Pierre Schaeffer, Weber, only as examples.

The Sound, in his structural characteristics, where originates and much more other things about the Sound, the new component and its new importance in the musical context.

Well, It is not my intention in my compositions have that "depth" but, I like to do to notice the importance of the Instrumentation, dynamic movements, also take advantage of the harmonic and esthetic formalism liberty that those "Great Contemporary Masters" left us like bequest without be necessary abandon the concepts and the formal strictness of the "Old Classical School". I think also that formal strictness perhaps have been a big and fantastic composition tool for the Old Masters, and beginning it do comparisons, Haydn with hundred number of the Symphonies and Mahler that used a period of four years for write its first symphony, hearing Haydn and Mahler and doing an deep analysis of his works we be able to think seriously about that and I ask for myself, how long Mahler would use for write "Titan" could be used a computer as tool of composition? He certain would not have problems with the dynamics marks by the use of the MIDI... :D

Come back to my symphony. ..! ;) The Form. That really is not easy to explain.

Why Symphony? Maybe by the kind of instrumentation, duration time, number of Movements, the musical handling about the thematic motives, really, I do not know, someone help me please.... :w00t:

Symphonic Poem ? During the makeup of the work I perceived some things characteristics in the Movements, the first one, the second, the third one, respectively I called them of Fire, Air and Water, only the last Movimente was conceived really for be the Earth.

Very well, I know that the four elements do not be not at all a big work of the Literature but when begin write I had the clear purpose of write something about the legend of Atlantis, the interpretation that I used for nominate and write for the four elements has a mystical symbolic meaning and not the strict meaning because I consider the Universe and the Nature as a Big Book. Well then, why not a Symphonic Poem ?

About the term 'brassy', I believe that you be right, therefore I still have a lot difficulty of write for that instrumental group.

About the Violas, Cellos and Clarinets, oh yes, the famous "Chalumeau" register. Its observations are in full agreement with the importance that I attribute to the Instrumentation but to make some kind of change I need will listen the score performed by a true Orchestra.

About the Midi, by a side I love :) , on the other hand I hate :angry: . for me is a true sacrifice to do some satisfactory record and be able to show some work.

About the PS. I thank once again.

I have listened to fire and will have to comment on the other ones later.

Simply put, I loved this piece! It is very beautiful, I can really imagine the fire in some parts, other parts not so much but still very very beautiful. I can't think of anything I would change. Sorry moderators if this is a bad comment because I have nothing to criticize, I'm not going to criticize if I don't think there is nothing to criticize. I also can't think of anyways to improve the piece overall.

uau! excelente peça!!!! só cosegui ouvir o primeiro mov pq não coseguir de novo abrir in loco e tive de baixar e isso leva horas aqui em casa rss. bem voltado à apreciação, só digo que fazia muito tempo que eu não ouvia uma peça contemporânea com tanto agrado. sou muito pouco fã de contemporâneos com raras exceções, mas sua peça conseguiu reunir elementos tradicionais tardo-românticos com recursos modernos de modo muito feliz e harmonioso, sem que houvesse qualquer conflito, antes colaboração. vc consegue criar uma atmosfera envolvente desde logo nos primeiros compassos e ao longo da peça o interesse vai sempre aumentando, devido ao seu esplêndido manejo das tensões e à fluência cristalina de seu discurso. sua orquestração é muito boooa! aquele grande clímax com ritmo marcial um pouco depois da metade da peça é simplesmente eletrizante! majestoso efeito! legal também o modo como vc sai dele gradativamente, relaxando aos poucos. muito bom. vou ver se consigo ouvir o restante assim que der. vc tem grande talento, continue a mil!

Ah, Brazilian Portuguese....:angry:

Ah, Brazilian Portuguese....:angry:

rsrss o Brasileiro é a melhor e mais linda língua do mundo rsrss, mas o Português vem logo a seguir hahahahahahahaah abz

ah, é verdade que vc tem aquele nome quilométrico mesmo ou foi brincadeira? achei o máximo da nobreza heheheheheheehehe acho que nem dom Pedro I tinha nome tão grande rsrsrssrssr

MARCOS desculpe os comments completamente off-topic... rsrsss abz a todos

rsrss o Brasileiro é a melhor e mais linda língua do mundo rsrss, mas o Português vem logo a seguir hahahahahahahaah abz

ah, é verdade que vc tem aquele nome quilométrico mesmo ou foi brincadeira? achei o máximo da nobreza heheheheheheehehe acho que nem dom Pedro I tinha nome tão grande rsrsrssrssr

MARCOS desculpe os comments completamente off-topic... rsrsss abz a todos

O Brasileiro cantado é lindo, mas os desenhos animados dobrados em Brasileiro são o mais nojento objecto alguma vez criado por seres humanos :(

O meu nome quilométrico é oficial se tivermos em conta o baptismo: não é o meu nome de QI, mas o padre que me baptizou (e também baptizou a minha avó! :angry: ) disse esse nome.

Ah, e "D. Pedro I" é "IV": D. Pedro I era o amante de Inês de Castro :angry:

Ah, e "D. Pedro I" é "IV": D. Pedro I era o amante de Inês de Castro ;)

rsrsrs o Marcos vai nos escorraçar daqui rsrss tomamos conta do seu tópico!!!!!!!!!!!

eu sei, esqueci de converter para Português rsrsss, mas para nós é I mesmo. ele tinha se não me engano 14 nomes. abz, depois continuemos a prosa no Off-Topic daqui senão vai dar problema com os moderadores e o dono deste tópico, que já está virando a Casa da Mãe Joana rsrsrss

abrações.

lol ok, so pensei que tinha prioridade porque Pedro IV era de facto português.

xau

Keep the comments coming to this piece and ignpre our blabbering! ;)

quid est rsrsrsrs?

Oi Frantz,

Obrigado pelo incentivo...!

"...sua peça conseguiu reunir elementos tradicionais tardo-românticos com recursos modernos de modo muito feliz e harmonioso, sem que houvesse qualquer conflito, antes colaboração."

Fiquei particularmente super feliz com esse comentário pois tento nas minhas composições utilizar de tudo para poder me expressar, da Harmonia Tradicional até os conceitos mais atuais, tente antes de escutar o segundo Mvt escutar o terceiro, nesse vc vai encontrar muito bem marcada essa sua observação.

PS.: Dei uma olhada em alguns de seus trabalhos e reparei que assim como eu vc também tem algumas dificuldades para escrever para instrumentos reais, para solucionar isso tento ao máximo assistir a concertos e a apresentações ao vivo, e também escutar e estudar partituras de concertos para os instrumentos nos quais tenho alguma dúvida.

Hello Frantz,

Thank you by the incentive. ..!

"...your piece obtained to unite delay-romantic traditional elements with modern resources of harmonious and very happy way, without that had any conflict, before collaboration."

I'm very happy with that comment therefore I try in the my compositions utilize of everything for be able to express me, of the Traditional Harmony to the presentest concepts, try before of listen the second Mvt listen the third one, in that you is going to find very well marked that its observation.

PS. : I gave a look in some of his works and I repaired that as well as I you also have some difficulties for write for real instruments, for solve that I try to the maximum one watch to concerts and the presentations to the alive one, and also listen and study scores of concerts for the instruments in the which I have some doubts.

Hello Thomas,

I forgot of write about his comment about the snare drum.

A marvelous idea.

I am considering seriously write something for the instrument.

Thank you.

ok as this is a public forum let's talk in english :)

yes, Marcos, the most striking feature of your work is the perfect blend of various influences making a coherent whole. you have absorbed them and built a language of your own and that is very nice! you mentioned Mahler and that is an important thing because like as you he tryied to create a new language in the threshold of a new era, a very difficult thing to an artist to achieve. not wonder that so few of his contemporaries understood his work. at least in one point you are luckier than him because nowadays we have a much bigger freedom to choose our way. i always felt Mahler's work as an unfinished work, regarding the music's history. the revolution in music language caused by Wagner, Mahler, Schoenberg and their fellows was too much a big and sudden break in the line of evolution and the world as a whole couldn't absorb the impact within those few years of transition. Mahler's thought looked forward but his actual universe of musical elements couldn't allow for expressing it perfectly, in my opinion. so it seems that we have always a terrible tension between past and future and at least for me that not always has a pleasant or fully successful effect, although his huge effort is worthy of the highest respect and has many beautiful moments indeed. but i think that his most successful achievement as an unifyied and balanced whole was the Song of the Earth, which is more interesting because it is indeed a vast and moving lamentation on the lost, past "paradise". so, after a whole century of evolution, the unexhausted romantic trend and the researches on music's language by Schoenberg and all the following schools, impossible to be ignored by the contemporary professional musician, may in composers as you find a more suitable ground to match and achieve a better solution to that conflict which was pending since then.

yes i have difficulties in writing for real instruments but for me that is a secondary concern, my interest on music is rather an abstract one and i feel very contented in writting just for computer listening. i am totally an amateur and self-taught composer and have started to compose since just 4 years ago, and do not pretend to pursue a professional career on music, however i am always trying to improve my skill. besides, i am a confessed revivalist of medieval and baroque styles and this is another difficulty in the present day. but i don't care at all :) one cannot deny his own voice. anyway soon i will post here at YC my best work, a Mass, and you will be able to know then my highest achievements.

as soon as i can i will listen to your other movements. keep up your great job!

Hello Frantz,

I see the computer as being a new instrument musical and also like a composition tool composition and in the moment I am trying to write for orchestra as this went an only instrument, fairly I am going to find a space of composition inside that time gap about the which you wrote. About your styles preferred, I felt really a Medieval atmosphere in the your works, I'm awaiting your Mass.

;) yeah! i see the computer that way too! i wonder that so many people still turns his face from it because so many and great serious composers have been composing for electronic tools, like as Stockhausen, Varèse and others, with splendid and amazing results.

i have just posted the 1st section of my Mass in the Major Works forum. so if you have the time to listen it be my guest there in my thread. cheers!

Marcos vc não pode me enviar os mp3 de 64kbps por correio dos 3 últimos movs? não consigo manter o stream, cai toda hora a conexão e se escolho download ele vai até a metade e depois pára. meu endereço é lovizol@terra.com.br. abz!