Leaderboard

Hi everyone! Long time for posting my last composition here. I am going to post the Lamentoso from my String Sextet 2nd movement here finally. Here is the pdf, mp3 and YouTube link of the piece: Lamentoso from String Sextet Movement 2.pdf Henry_Lamentoso.mp3 Here are the previous posts from the String Sextet: First movement: And here is the fugue after this Lamentoso: Here is the structure of the movement: 0:04, b.1-33. Introduction, setting the heavy tone of the movement by immediately using the low register of the violas and cellos. Focus on the first three notes of the opening theme of the first movement, but in minor version. 1:35, b.33-60. Agitato. Use some polyrhythms and tremolos here for my agitation. The melody comes from the minor version of the opening theme of the first movement. I like the yearning from second cello and first violin here! 3:23, b.61-93. Più mosso. Variation on the arpeggiating figure of the first movement first introduced in b.19. The sudden modulation to C minor is to echo the C major modulation in the first movement, b.226, and also augur the C minor modulation in the subsequent fugue section. With a solo transition to the next section. 4:58, b.94-122. Agitato. Again features tremolo here but with metre as rhythm. At first it’s a variation on the first three notes of the opening theme, but in b.108 the theme from the next section is announced early. Modulate to dominant C sharp minor, my favourite key! 6:01, b.123-139. Tranquillo. A cello recitative against the bass notes and the fleeing upper strings. The theme here comes from the Db major of the first movement in b.115, again the minor variation . I quite like the texture here, since the cello is really beautiful in its high register con sordini. Modulate to F sharp major to the next big section. 7:05, b.140-198. Marked “doubtful” at first since it’s the reappearance of the original opening theme of the first movement but harmonized by strange keys and then surrounded by dissonant chords (b.148). Enters into Misterioso passage, maybe trying to find ways to connect back to the world of the first movement. Bartok Pizz. is used as a signal for something enlightened. B.179 starts my favourite section of the whole Lamentoso or even the while 2nd movement I have written so far. It augurs the subject of the fugue which comes next, but for me it’s honest and very beautiful when getting back to F sharp minor. Definitely one of my best passages ever written. 10:43, b.199-end. Coda and transition to the fugue. A recalled memory from the heavenly first movement, but laughed off by the evil sul ponticello 2nd viola. Exhausted, the music gets into the second big section, the six part fugue which I composed earlier. I’m afraid the structure is a bit disorganised, but I like how direct it is emotionally and the contrast it brings with the first movement and the subsequent fugue. I definitely write with my honest emotion here, even though it’s quite sad. Hopefully I’ll finish the whole movement and while piece soon! Hope you enjoy my sadness here! Edit: I forget to mention the audio is made by Vince @Thatguy v2.0! Thx my bro! Henry

So anyway, the last time I tried to write a symphony was almost 8 years ago, and it was so terrible that it's now called Symphony No. 0 and we never speak of it. I was 15 at the time. I suppose (most) teenagers aren't generally known for writing great symphonies. But I recently tried again. This is now my Symphony No. 1. I just finished it today. It's in one vast, slow through-composed movement. I wonder if, as you listen, it is obvious who my main stylistic influences were. The entire piece is built from one motif, the three-note figure that bookends the whole thing of the rising leap followed by the falling step. I've been working on this for about six months. This symphony was the product of a lot of experimentation and often changing course on the fly. Not only have I never written this much slow music all at once before, but these are the largest orchestral forces I've ever handled, with the greatest variety of orchestral color at my disposal. It's also the first time in a while I have allowed myself the luxury of a harp, as previously I had always been wary of giving myself the opportunity to commit any of a number of common orchestration blunders. I'm enjoying the fruits of the new Muse Sounds I have gained access to by virtue of switching to Musescore. They're wonderful. They can be a bit buggy, but sometimes it's almost scary how human they sound. Curious about how this will be received.