This is very impressive and you must be congratulated on learning your craft in order to write such music. Obviously you have your influences, most composers do at some stage, but it takes a lot of skill to write music like this. I particularly like the second movement because it is very much to my taste. Well done!
The music of oneself is painful, but the music of the cosmos is infinite and majestic, she doesn't care about our selfish fashions and styles. The key to writing great immortal music is to forget your painful self and dissolve into the musical cosmos which is infinitely superior to any perishable, mortal humanoid being. Once that is understood and seen one looks with contempt on ''fashion'' or any art of personality or that aggrandizes our insignificant persons. The fashion art must die and the ''me, me, my, my'' words should be ommited when we talk about musical compositions, be free, don't dogmatize yourself, quote everytime you want, as the great masters of composition did. Music trascends time, she hates fashion, it's immortal and it's bigger and superior than any of us, if we use ourselves to make music of ourselves... that music is condemned, it has no future and it will die easily as we do. This and the ''all arts are music, music has all arts, all arts are one only thing: art'' the most important thing I've learn in my artistic life. Someday many will realize that music does not depend on the human being to exist, we are mere instruments of it, of this tridimensional world, and everything goes to hell when we do our selfish intentions without first consulting the muse, . The piece wants and need something, it's like your child, don't enslave your kids. There must be an agreement between what we want and what the muse wants.
Lots of things have already been said here, but I'm not sure if anyone has said this; Careful with key signatures. In general average players in average orchestras can struggle with lots of sharps or flats, and might just figure that its too much trouble and choose a different piece to play instead. Usually / almost always the 2nd violin plays the lower line and the 1st violins takes the higher more virtuosic one. Exceptions from my knowledge seems to be harmonic lines or counterpoint, otherwise when doubling the 1st violin goes on top of the 2nd violin.
Nice attempt at a first symphony! There is a lot to unpack about how you can improve as a composer, but there is always a hint of your voice that will show itself in the music. I see that you have been studying Tchaikovsky, Rachmaninoff, and Shostakovich just to name a few. Always remember that your voice is what should prevail, not the voice of other composers - this is something that will improve over time, and I am still working on it as a composer myself. Remember that the more you write, the more you will find your voice as a composer. Keep up the good work, enjoyed listening to your first symphony! I will learn from it just like I learn from any piece of music I listen to as I delve into completing my own first symphony!
Thanks! Yes, I studied a lot of symphonies before starting my own, and it still didn't save me from the mistakes that I see now. But you're right, this is just the first attempt :)
@@GlebNebolsinAs many composers say, you continue composing because you know you can do better! Furthermore, don't worry about mistakes as much. Just learn to recognize them and be careful as you compose music, e. g.: "Aight no, I won't make the clarinets go from middle C to their highest register without an ample rest and I gotta make sure that the horns rest for some time after that crazy passage."
As a reaction to EricWarncke's comment. Ofcourse, you as the composer, are always right! You will always have people who like it, and others who don't. But you follow your musical feeling and progress accordingly in your writing. But I do get what Eric is trying to say. It is always important to go somewhere with your music. You are trying to tell a story and whatever this story may be, it is always more appealing when the music (and thus the story) evolves. A silly thing I tend to do, is make up a story, Write it down, and then divide it into pieces, almost like a film. Then I compose music to that story. This helps me to go from point a to b, and then from b to c, etc. Maybe this can help you too. But... I'm not even close to where you are, I'm still studying music and instrumentation. I'm just getting started... You on the other hand are already way further and regardless of what we say ... I like the themes you composed ... The drama is always nearby ... and I love that. And I have to be honest ... the Musescore strings are sounding beautiful with your music 👍 I hope to hear movement 3 and 4 soon.
Hello, I'm glad you liked my work :) I love Russian romantics, for example Mussorgsky, Rachmaninov, Scriabin, etc., but I purposefully did not borrow anything from them. Yes, there are some stylistic similarities here.
@@GlebNebolsin Случаются же чудеса... Я только что в очередной раз послушал 2 Концерт Рахманинова и следующим почему то включил это видео. :) Мне понравилось :)
In the introduction, if you have two bassoons, why not dovetail the solo bassoon part so that the bassoonist has more opportunities to breathe/rest their lips and throat. Also, as a bassoonist, I must say that you need a contrabassoon in your orchestration if you don't have one already. Mainly because contrabassoons are awesome. Jk, adding a contrabassoon I feel balances out the woodwinds, brass, and strings and broadens the tonal range of the timbres that you have available to you as a composer. A lot of composers will just have the contrabassoon double to lowest bassoon (assuming you don't do anything crazy fast or high). Did you get Shostakovich and Bruckner inspiration? Also parts of it sound like you took a lot of inspiration from Rachmaninoff Piano concertos 2 and 3.
Hello In the future I will use 1 bassoon because I want the depth and power of the bass to have weight and greater emotional impact. Yes, I thought about introducing a counterbassoon into the work, however, I don’t think it’s necessary here, at least because there is no way out of the range of simple bassoons. You're right about the break, but this piece requires at least 2 musicians on each panel (except drums and percussion). No, I was not inspired by Shostakovich and Bruckner, although I respect and love Shostakovich’s music. Yes, I adore Rachmaninoff. My idols of orchestration are Rachmaninov, Tchaikovsky, Mussorgsky and Ravel.
Honestly I wouldn't worry too much about sounding "too much" like this composer or that composer. Write what you like and you'll find your voice naturally :)
For a first symphony it isn't bad at all though I do hear, like many folks have mentioned, your influences which are very pronounced but you also take them on your terms. The second movement, for my money, is a tad too long and at times borders on the repetitive, yet your penchant for orchestral colors keeps this movement from becoming stagnant. It would be very interesting to hear the third and fourth movements when you complete them to see how you resolve the architectural design you're bringing forth. No doubt your second symphony will be much more seasoned and reach further into what you continue to say.
Hello No, I didn’t take any clear examples for inspiration. I agree, there are similarities, my friends often notice that there are moments similar to the works of Tchaikovsky, Rachmaninov and Shostakovich
As a fellow emerging composer I congratulate your work! I have a question for you as well. You said that you studied the scores of other composers, are you able to look at a score and hear it in your head?
Hi, thank you very much! Yes, although with the scores of 20th-century composers, where the methods of composition are much more sophisticated, difficulties may arise
The biggest mistake here is your opening. You present a very sparse motif, repeat it twice and slowly modulate into a major resolution before your A section begins. You gave away the buildup that you spend 10 minutes working towards right after. Odd choice for me, to tease that. The entire intro adds nothing to the piece musically and I feel makes it drag more than needed. I think you need to decide on a big theme and just let it carry the piece. Your style is very Mahler-like and Ravel-like, with the drama, but you need to focus on your story telling and your melodies. I think this is a good work, but nothing is grabbing me beside the general mood of something going wrong and the very familiar looking score.
Hello, thanks for the feedback I justified this introduction by the fact that from the motive, which consists of 2 notes, a theme will appear in the future Yes, perhaps the introduction is really lengthy, that’s true :) And could you explain what "familiar score" means? (English is not my native language)
@user-ff6oj5xb1s hi there, I understand what you mean by the introduction and my feedback is my own opinion so don't take my advice if I am totally wrong. My other comment was saying that I think some of your score looks very similar to segments from several scores I have studied, including "Pavanne for a dead princess" by Ravel, "night on the bare mountain" by Mussorgsky, and "Isle of the dead" by Rachmaninoff. This just shows that you are studying too.
great music, so perfect for my taste, I really LOVE IT, you make muse score sound very good, have you tried the new libraries for muse score? thank you for this amazing work of art. It's so rare to find composers nowadays that meet my tastes, you are one of them.
My compliments, your work sounds very professional and free from the film-score mania. like true inspiration
This is very impressive and you must be congratulated on learning your craft in order to write such music. Obviously you have your influences, most composers do at some stage, but it takes a lot of skill to write music like this. I particularly like the second movement because it is very much to my taste. Well done!
The music of oneself is painful, but the music of the cosmos is infinite and majestic, she doesn't care about our selfish fashions and styles. The key to writing great immortal music is to forget your painful self and dissolve into the musical cosmos which is infinitely superior to any perishable, mortal humanoid being. Once that is understood and seen one looks with contempt on ''fashion'' or any art of personality or that aggrandizes our insignificant persons.
The fashion art must die and the ''me, me, my, my'' words should be ommited when we talk about musical compositions, be free, don't dogmatize yourself, quote everytime you want, as the great masters of composition did. Music trascends time, she hates fashion, it's immortal and it's bigger and superior than any of us, if we use ourselves to make music of ourselves... that music is condemned, it has no future and it will die easily as we do. This and the ''all arts are music, music has all arts, all arts are one only thing: art'' the most important thing I've learn in my artistic life.
Someday many will realize that music does not depend on the human being to exist, we are mere instruments of it, of this tridimensional world, and everything goes to hell when we do our selfish intentions without first consulting the muse, . The piece wants and need something, it's like your child, don't enslave your kids. There must be an agreement between what we want and what the muse wants.
Beautiful! Bravo!
Lots of things have already been said here, but I'm not sure if anyone has said this;
Careful with key signatures. In general average players in average orchestras can struggle with lots of sharps or flats, and might just figure that its too much trouble and choose a different piece to play instead.
Usually / almost always the 2nd violin plays the lower line and the 1st violins takes the higher more virtuosic one. Exceptions from my knowledge seems to be harmonic lines or counterpoint, otherwise when doubling the 1st violin goes on top of the 2nd violin.
Nice attempt at a first symphony! There is a lot to unpack about how you can improve as a composer, but there is always a hint of your voice that will show itself in the music. I see that you have been studying Tchaikovsky, Rachmaninoff, and Shostakovich just to name a few. Always remember that your voice is what should prevail, not the voice of other composers - this is something that will improve over time, and I am still working on it as a composer myself. Remember that the more you write, the more you will find your voice as a composer.
Keep up the good work, enjoyed listening to your first symphony! I will learn from it just like I learn from any piece of music I listen to as I delve into completing my own first symphony!
Thanks!
Yes, I studied a lot of symphonies before starting my own, and it still didn't save me from the mistakes that I see now. But you're right, this is just the first attempt :)
@@GlebNebolsinAs many composers say, you continue composing because you know you can do better!
Furthermore, don't worry about mistakes as much. Just learn to recognize them and be careful as you compose music, e. g.: "Aight no, I won't make the clarinets go from middle C to their highest register without an ample rest and I gotta make sure that the horns rest for some time after that crazy passage."
С каждым прослушиванием всё больше влюбляюсь в автора 💞
As a reaction to EricWarncke's comment.
Ofcourse, you as the composer, are always right!
You will always have people who like it, and others who don't.
But you follow your musical feeling and progress accordingly in your writing.
But I do get what Eric is trying to say.
It is always important to go somewhere with your music.
You are trying to tell a story and whatever this story may be, it is always more appealing when the music (and thus the story) evolves.
A silly thing I tend to do, is make up a story, Write it down, and then divide it into pieces, almost like a film.
Then I compose music to that story.
This helps me to go from point a to b, and then from b to c, etc.
Maybe this can help you too.
But... I'm not even close to where you are, I'm still studying music and instrumentation.
I'm just getting started...
You on the other hand are already way further and regardless of what we say ... I like the themes you composed ... The drama is always nearby ... and I love that.
And I have to be honest ... the Musescore strings are sounding beautiful with your music 👍
I hope to hear movement 3 and 4 soon.
Sounds Great!
Very nice!
Автор гений!!!
Very nice! (the main theme of the 1st mov, is it inspired by rachmaninoff's 2nd and 3rd concertos?)
Hello, I'm glad you liked my work :) I love Russian romantics, for example Mussorgsky, Rachmaninov, Scriabin, etc., but I purposefully did not borrow anything from them. Yes, there are some stylistic similarities here.
@@GlebNebolsin Случаются же чудеса... Я только что в очередной раз послушал 2 Концерт Рахманинова и следующим почему то включил это видео. :) Мне понравилось :)
не верю своим ушам и глазам ,это что то нереальное!!
thx you🐶
In the introduction, if you have two bassoons, why not dovetail the solo bassoon part so that the bassoonist has more opportunities to breathe/rest their lips and throat. Also, as a bassoonist, I must say that you need a contrabassoon in your orchestration if you don't have one already. Mainly because contrabassoons are awesome. Jk, adding a contrabassoon I feel balances out the woodwinds, brass, and strings and broadens the tonal range of the timbres that you have available to you as a composer. A lot of composers will just have the contrabassoon double to lowest bassoon (assuming you don't do anything crazy fast or high). Did you get Shostakovich and Bruckner inspiration? Also parts of it sound like you took a lot of inspiration from Rachmaninoff Piano concertos 2 and 3.
Hello In the future I will use 1 bassoon because I want the depth and power of the bass to have weight and greater emotional impact. Yes, I thought about introducing a counterbassoon into the work, however, I don’t think it’s necessary here, at least because there is no way out of the range of simple bassoons. You're right about the break, but this piece requires at least 2 musicians on each panel (except drums and percussion). No, I was not inspired by Shostakovich and Bruckner, although I respect and love Shostakovich’s music. Yes, I adore Rachmaninoff. My idols of orchestration are Rachmaninov, Tchaikovsky, Mussorgsky and Ravel.
@@GlebNebolsin Having only one bassoon is going to have the opposite effect, it's going to sound thin.
Honestly I wouldn't worry too much about sounding "too much" like this composer or that composer. Write what you like and you'll find your voice naturally :)
For a first symphony it isn't bad at all though I do hear, like many folks have mentioned, your influences which are very pronounced but you also take them on your terms. The second movement, for my money, is a tad too long and at times borders on the repetitive, yet your penchant for orchestral colors keeps this movement from becoming stagnant.
It would be very interesting to hear the third and fourth movements when you complete them to see how you resolve the architectural design you're bringing forth. No doubt your second symphony will be much more seasoned and reach further into what you continue to say.
Absolutely beautiful piece of work! Is Movement 2 inspired by Tchaikovsky's 5th Symphony? I can definitely draw some similarities!
Hello No, I didn’t take any clear examples for inspiration. I agree, there are similarities, my friends often notice that there are moments similar to the works of Tchaikovsky, Rachmaninov and Shostakovich
As a fellow emerging composer I congratulate your work!
I have a question for you as well. You said that you studied the scores of other composers, are you able to look at a score and hear it in your head?
Hi, thank you very much!
Yes, although with the scores of 20th-century composers, where the methods of composition are much more sophisticated, difficulties may arise
@@GlebNebolsinI can look at a score and sort of hear it but it won’t be in real time as if I’m listening to a recording. Any advice
Sounds very nice well done. I can only encourage you to work on your transitions , they sound a little abrupt to my ears 😅. Cheers from France
The biggest mistake here is your opening. You present a very sparse motif, repeat it twice and slowly modulate into a major resolution before your A section begins. You gave away the buildup that you spend 10 minutes working towards right after. Odd choice for me, to tease that.
The entire intro adds nothing to the piece musically and I feel makes it drag more than needed.
I think you need to decide on a big theme and just let it carry the piece. Your style is very Mahler-like and Ravel-like, with the drama, but you need to focus on your story telling and your melodies.
I think this is a good work, but nothing is grabbing me beside the general mood of something going wrong and the very familiar looking score.
Hello, thanks for the feedback
I justified this introduction by the fact that from the motive, which consists of 2 notes, a theme will appear in the future
Yes, perhaps the introduction is really lengthy, that’s true :)
And could you explain what "familiar score" means? (English is not my native language)
@user-ff6oj5xb1s hi there, I understand what you mean by the introduction and my feedback is my own opinion so don't take my advice if I am totally wrong. My other comment was saying that I think some of your score looks very similar to segments from several scores I have studied, including "Pavanne for a dead princess" by Ravel, "night on the bare mountain" by Mussorgsky, and "Isle of the dead" by Rachmaninoff. This just shows that you are studying too.
ah, thanks for the explanation I love Musorgsky
great music, so perfect for my taste, I really LOVE IT, you make muse score sound very good, have you tried the new libraries for muse score? thank you for this amazing work of art. It's so rare to find composers nowadays that meet my tastes, you are one of them.