Classic Symphony in Em mov.1

Here my new piece, being the first movement of a classic symphony. The second and third movement area not written yet, I have just some ideas. 

The orchestration is accoding to the early classical period: strings, 2 oboe & 2 Horn, being the main role on the string section. 

The form is in Allegro-Sonata. I've just writen a couple of pieces in that form, so I'd like to know your opinion formwise (theme 1, theme 2, , transitions, development section, recapitulation) Do you thing it's consistent? It have no introduction and no coda, but those are optional sections.

I appreciate your comments!

I do find your work interesting my friend. The first subject is reminiscent of Mendelssohn's violin concerto, although I suppose it is a frequently used motif with it being the rising triad. I have often said that you apply the right harmonic progressions that and patterns that are typical of the period you wish to emulate. However, you should look at applying some counterpoint too, as this is what makes music interesting. Counterpoint needn't be complicated for the classical period, especially galant music for that particular style emphasized simplicity above all. For instance, between around bars 65-80 you can look at making a counter melody to the core idea, and to add some flavor, rather than focus solely on the second violin, produce some meaningful communication between the other parts. You could also try exploiting the circle of 5ths to add some harmonic variety. These are the sort of things you should be looking at, Gulliem 🙂

Hi Markus, you are right. You are totally right. Also saw the lack of counterpoint. Good idea, with the second theme with the melody on violin 2 it could work a countermelody of the oboe going upward instead of backward as the violin 2 do. Its always interesting to play with the directions with countermelodies to create the feeling of one part complementing the other. Let's see if the accompaniment works that way, may be it needs some ajustments.

Thanks Markus, your comments are always of great value 😉

No problem, it’s a pleasure to interact with like minded people. I’d personally suggest that you try writing for keyboard only, with a focus on upper and lower voice. Once you get two fundamental voices working together in an ideal way, then your additional voices should be a matter of just filling in the gaps. Of course, not all parts need to play at once all the time which should offer some opportunity for interaction. Johann Christian Bach’s opus 11, a series of quintets, are evidence of this and he was a master of making each voice interact in an interesting way, even if in isolation some of the material is not at all complicated. I’d personally a advise against writing for over 4 voice and until you master two part writing. 

This by the way is no criticism. I often often encounter challenging upper passages to write a meaningful lower part for. To remedy such difficulties, like you I will establish which chord fits best, before loosening texture, perhaps with suspensions between lower and middle parts. I’ll send you an example later when I have my computer at hand. 

Always a pleasure to see that the spirit of the ancient great composers still live among us! 😉 

More serioulsy, you've really mastered catching the feeling of that precise period. Thanks for sharing it, hearing classical pieces is something we should do more often.

NOt my favorite style, but it's effective.

@Camfrtt & Luis Hernández, thanks for you feedback!