Symphony no 1 in A minor (I) March

Please note that this is the FIRST movement of this symphony. I will make more movements on the not too distant future.

Please enjoy!

Here is the pdf:

https://drive.google.com/file/d/1WL7JfQ4C3eoPIUxdXETpMme3a9HIsS_e/view

I recommend you listen to the score here since the mp3 can sound a bit off sometimes (especially at the ending)

I looked at the score.
My advice regarding symphonies would be first master traitional symphonies ideally with traditional orchestra (a whole lot smaller orchestra) in the cannon style of classical or late romantic style before even attempting experimental or innovativ music.

How can you invovate without a good foundation of the tradition?
Brahms spend 21 years on his first symphony and beethoven so i heard spend from sketching to full orchestra 30 years on his symphony no 9.
A symphony is not something you should be doing lightly. 

I don't say this to be rude but just to give some perspective on the symphony.

If you comfortablely can craft a symphony that stand along side Beethoven for example or at least immitate the form style and orchestration then and only then I would say you should try something like this.

Also how are you going to get this performed in the future with a orchestra so large?

Compose for the musicians not the computer.

I would also recomend sketching on a single staff or piano sketch. This is to make something more idiomatic and playable. Only after the whole piano sketch is complete then orchestrate.

32 minutes ago, Bjarke said:

Also how are you going to get this performed in the future with a orchestra so large?

I was trying to make a symphony a bit like what Gustav Mahler would make, that's why the orchestra is so large 

1 minute ago, Musicman_3254 said:

I was trying to make a symphony a bit like what Gustav Mahler would make, that's why the orchestra is so large 

 

That make sense. But i would still recomened starting with smaller orchestra in the start.
Because that will give you far more control over the orchestra later.
If you have complete control over smaller ensemble and can impress the listner with that the full orchestra will only add to that.
Also a tip from Mike verta:
Don't over orchestrate. Only orchestrate what it really needs(something i my self still practice)

How many years of experience composing/orchestrating do you have?(just curious) 

I would recomend taking a look at Ravels:
introduction et allegro pour harpe flute clarinette et quatuor a cordes.

He seems to do a lot with a small ensemble and sometimes make it sound like a full orchestra. 

8 hours ago, Bjarke said:

How many years of experience composing/orchestrating do you have?(just curious)

I think I've had around 1 year of composing 

The first question, that came to my mind is: are the piccolo players you know skilled in circular breathing? If not, the beginning should be revised, no piccolo player can play these high a's without breathing and hence breaking the obvious attempt to maintain the pitch uninterrupted.

I personally believe this is more appropriate to be the movement of a Suite, rather than a Symphony. 

The piece needs some modulations to other tonalities. The varied use of orchestration and dynamics help this music a lot, but there is no real climax or waypoint towards a certain progression of the musical material. 

You are relatively new in the field of composition. I remember my beginnings, and this is more ambitious than mine were though.

2 minutes ago, Sojar Voglar said:

The piece needs some modulations to other tonalities. The varied use of orchestration and dynamics help this music a lot, but there is no real climax or waypoint towards a certain progression of the musical material. 

That does make sense now you say that.

I'll try to use better modulation next time!