For my next article I decided to switch it up and present a larger-scale work. This is a 10-minute orchestral work which I wrote in the beginning of this year which I will likely turn into the first movement of a symphony, though the rest has not yet been written.
In writing this, I wanted to create a large-scale work that would fit the traditions of a first movement of a symphony, but have a more gentle style the typical fanfare-like beginnings. I was not inspired by any particular composer, but in hindsight I see influences from composers such as Tchaikovsky and Strauss.
Written based on simple sonata form, this piece’s primary theme is based on the motif of a dropping tone from B to A, which is soon developed by the oboe gentle disjunct rhythmically ambiguous melody, which is then repeated and further developed by the flute. After a quite dramatic set of build-ups and diminuendos, the piece takes a turn for the chromatic with a bridge section marked Mystérieusement which leads us to the second theme, a simple B major melody accompanied by a quieter countermelody.
The point at which I start the development section is up for debate – I abruptly interrupt this second theme to provide a climactic Majestueux return of the first theme followed by a dénouement in which the orchestra highlights the tonic key with a serious of D major chords in semibreve/whole note and triplet rhythms. One could also argue, however, that my development begins with the clarinet/viola duet at bar 106. One should remember when analysing a piece that a composer neither analyses their own piece while writing it nor limits themself to the restrictions of a specific form.
The development lasts a relatively short amount of time by my standards, but to make up there is quite a lot more elements of development in the exposition and recapitulation sections, especially with regard to the first theme.
At the end, I suppose you could say I failed at avoiding the fanfare-like style, with a massive melodramatic fanfare-like ending. To my defence, however, I did say I only wanted to avoid the fanfare-like beginnings.
Richard B. ( @you-had-me-at-e-flat-major )