Symphony no. 18

[lunar22]

although hardly anyone, other than one or two bloggers, seems to post their work here any more, I'll give it one more shot with my latest symphony.

No. 18 was inspired by Bruckner's 6th and the resulting piece has a little of the quirkiness spirit of his masterpiece and is certainly more classic-romantic in idiom than most of my more recent works in this form and this at least not hard to listen to I would hope. Would be interested in getting feedback if anyone likes it (or indeed if they don't, why not!)
https://play.reelcrafter.com/dko22/latestworks

[krummholz]

It definitely takes an investment in time, but I think this may be my favorite among the works of yours I've heard so far. You manage to weave ostinati, polyrhythms, weird figurations for the winds, and some bona fide big romantic tunes into a constantly changing musical landscape that really holds the ear. You're doing interesting things with tonality that I think Simpson would have appreciated, though the idiom is more late romantic and less modernistic than his. I'm impressed with the transparency of your textures here as well - all the voices are clearly audible.

My only criticism would be that the individual movements - I hear four in all, like the Bruckner, is that correct? - if they are indeed movements, seem to not reach a definite conclusion but end rather unexpectedly and abruptly, almost in mid-phrase - with the exception of the finale. I wouldn't have a problem with the fact that they don't cadence in any way if it weren't that - again, except for the end of the finale, which is imo well-prepared - the endings of the other movements didn't seem to be, well, prepared. It could just be me, and there is enough in there to warrant repeated listenings. This was only my impression on first hearing.

[relm1]

It definitely takes an investment in time, but I think this may be my favorite among the works of yours I've heard so far. You manage to weave ostinati, polyrhythms, weird figurations for the winds, and some bona fide big romantic tunes into a constantly changing musical landscape that really holds the ear. You're doing interesting things with tonality that I think Simpson would have appreciated, though the idiom is more late romantic and less modernistic than his. I'm impressed with the transparency of your textures here as well - all the voices are clearly audible.

My only criticism would be that the individual movements - I hear four in all, like the Bruckner, is that correct? - if they are indeed movements, seem to not reach a definite conclusion but end rather unexpectedly and abruptly, almost in mid-phrase - with the exception of the finale. I wouldn't have a problem with the fact that they don't cadence in any way if it weren't that - again, except for the end of the finale, which is imo well-prepared - the endings of the other movements didn't seem to be, well, prepared. It could just be me, and there is enough in there to warrant repeated listenings. This was only my impression on first hearing.

I took a listen and agreed with your very well written impressions.  I'd also add, one recurring feature I hear is a lot of direct repitition of a phrase.  A phrase is stated, then repeated.  Then altered slightly and repeat that alteration.  That add a new element and repeat that version.  On a long work it makes it can make it feel like it's dragging because there isn't actually development but repitition with a slight change.  Does this make sense or I'll try to explain differently.  Think of it this way, it is good to set up an expectation which usually requires repitition.  So you state the phrase, and repeat it.  The third time it gets altered either harmonically or through some rhythmic or melodic transformations otherwise it gets predictable.  What is less interesting is have this transformation become the expectation even though you are altering the phrase, it's a continuation of what you already did and can make the listener tune out because their expectation isn't subverted.  If you transform too much at once, it feels somewhat jarring (which can be the point like Stravinsky Rite of Spring where sudden volume changes/texture/tempo/rhythmic changes all happen at once). 

Overall, I did enjoy it and thought the fourth movement was the most successful. 

[krummholz]

I shall have to give the piece another listen later today. I agree in principle with what you say about the need to vary the variations of repeated patterns so that the variation doesn't become the expectation. But on my first hearing of this work I was not too bothered by that aspect because, first, the repetitions struck me more as a kind of ostinato rather than the thrust of the musical argument; and second, because of the constant changes of orchestral texture that give the work a kind of "kaleidoscopic" feel, reminiscent in a way of Havergal Brian, though expressively the piece is worlds away from anything by Brian. The frequent tonal shifts and inflexions are also very ear-grabbing and help to mitigate any weakness in the way repetitions are handled.