Symphony #1

My first symphony. My first extended work for full orchestra. It is an exceptional achievement for a composer to complete a symphony let alone complete a quantity of symphonies. In the 17th century the term “symphony” or “sinfonia” (Symphonia a term used during the middle ages and the renaissance) was oftentimes applied to introductory movements to operas, oratorios and cantatas. It was a term also used for overtures in instrumental introductions and ritornellos found in opera arias. The immediate antecedent of the modern symphony is commonly considered to be the opera sinfonia which by the 18th century consisted of three sections or movements: fast, slow and fast. This form stayed constant and with the addition and or inclusion of the scherzo movement completed the guideline or model which has stood to the present day as the embodiment of symphonic form.

The history of the development of the symphony is quite interesting and although I very much admire history of all sorts, this admiration does not sway me from my aesthetic objectives of the present-day, and that is to compose a symphony or two. I consider it a significant milestone in the development of a composer’s vocation and/or craftsmanship to have begun and to have completed a symphony. And here you have it. It is approximately 36 minutes in length. It is not to short and not to long and drawn out. It’s a perfect length for symphony #1.

Symphony #1 consists of an introduction - movement 1 Allegro ma non trope dolce e affettuoso - movement two Allegro con moto e poco con brio scherzoso capriccio - movement three Quasi Pastoral con elegance e un po’ ecstatico lento sostenuto sempre dolce e teneramente - movement four Allegretto e con calores sempre dolce e espressivo. This symphony’s harmonic language is modal rather than tonal. The forms and structures are a blend a mixture or a composite of sonata allegro and theme and variation techniques and practices. Lyricism has always been preeminent and of the greatest importance to me and this symphony definitely reflects this fondness and preference of mine. I have always longed to create musical art that always strives to be beautiful. Art can be very beautiful and truly something to behold.

My final thought is that I do not know how history will recall and reminisce about the notability and the charm of the symphonic narrative in the 20th and the 21st centuries. I only hope that it’s continued existence, its appeal, its merit and its attractiveness as a “force of nature” will always be something cherished, admired and long-lasting.