Symphony in Gold and Silver (chamber orchestra version)

Long time no see! I've recently been composing again and I'm very happy with this one.

Structure resembles sonata form:

Exposition:
0:00 A is polychords from F, C and G Lydian.
1:40 B is dobled melodies from polychords of G, Bb and Db Dorian.
2:52 C is textures from polychords of B, C and C# Locrian.

Development:
1. 4:12 a few A tutti chords to close the exposition and open the development
2. 4:26 A+B juxtaposed
3. 4:58  A+C juxtaposed
4. 5:38 A+B+C tensely juxtaposed
5. 6:33 A+B+C integrated resolutely in a "collective agreement" mode based on E Lydian, ending in a little cello solo epilogue.

Recapitulation: 8:14 order C-B-A

Using Noteperfomer, warning: still loud but more balanced.

Positive feedback revolves around the beauty of the harmony, orchestration and the interesting form.

Criticisms I've received are that:

• It may be difficult to follow because the lack of literal repetition of an entire theme.
• A lacks a theme proper.
• The exposition and recapitulation of A and B lack contrapuntal interest.
• The harmonic rhythm is slow throughout.
• The lack of other movements

I'm creating a version with a larger orchestra considering the criticisms, may even do a theme and variations second movement.

Hi @Uhor,

8 hours ago, Uhor said:

Using Noteperfomer, warning: loud.

I immediately turn off my volume seeing this! It's very loud for that fff opening! 

8 hours ago, Uhor said:

Positive feedback revolves around the beauty of the harmony, orchestration and the interesting form.

A is great especially with those quintal harmony. B has a good use of octatonic relationship. 

I particularly love the beautiful woodwind theme! around 6:40!

8 hours ago, Uhor said:

• It may be difficult to follow because the lack of literal repetition of an entire theme.
• A lacks a theme proper.

Yes I do these points are partly valid. A is not a quite a theme itself since it lacks melodic contents in it. It does provide interesting harmonic content and accompaniment in it, but it's hard to notice it clearly. But for me it's not that difficult to follow theme B and C as the rhythmic content is very distinctive.

8 hours ago, Uhor said:

The exposition and recapitulation of A and B lack contrapuntal interest.

I don't think it's very important to have contrapuntal interest right at the beginning of the movement. It's a place for preparing the climax and you have to consider the overall structure of the piece. More importantly It does have contrapuntal interest after the exposition! Also it really depends on what you want to achieve in the music, whether it's narrative or descriptive to determine the good or bad of this!

8 hours ago, Uhor said:

The harmonic rhythm is slow throughout.

Again that's not a bad thing at all if that's the effect you want to achieve!

8 hours ago, Uhor said:

The lack of other movements

LOL is this a valid criticism?

You use a reversed sonata form here. Do you want to use it for a descriptive or narrative approach? After all with different approaches the effect will be different! What's the intention to reverse the order in the recapitulation? I guess it's for the reverse of climax? For this it will be a great effect.

Will you also add the indication of bar/time in the form you mapped for us? That will be easier for us to follow the music as well! 

Thanks for sharing!

Henry

Hi @Henry Ng Tsz Kiu , many thanks for taking your time going over it!

I've added the times.

I think this music/form is very narrative, I didn't have a story in mind so whether you think of of other Earths habitats or of three friends or gods fighting and reconciliating it up to the listener!

I reverse the order in the recapitulation mainly because I think of the first big chord in the exposition as with the role of Tonic to the whole, a full return home, also because the ending of the development is really melodic it is better to contrast is with texture.

The "lack of other movements" comes from people who really liked it so its actually a compliment.

I made another version of A. which I attach in this message, with Sibelian melodies. It feels more like a climatic ending. I may do two versions for the larger work: a NeoRomantic one and a Post-Impressionist one. 

I wrote a better, less Post-Romantic and more Fantasy version of the beginning A. This time I made the audio less ear-blowing.

This is the fully expanded polyphonic version of the Symphony (same mistakes as before, only larger scale).
Most of the obvious mistakes are notation of rhythms and overestimating the capabilities of the high woodwinds.

I like sound world that you’ve created. It has a point of view to it, that doesn’t rely on pastiche.