Symphony No. 1
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If you would like to purchase/perform this piece, please fill out the contact form and I’ll get it to you!
RECORDING
MIDI File
INSTRUMENTATION
2 Flutes
2 Oboes
English Horn
2 Bb Clarinets
Bass Clarinet
2 Bassoons
Contrabassoon
4 Horns in F
3 Trumpets in C
3 Trombones
Tuba
Timpani
Percussion (3 players)
1. Vibraphone
2. Snare Drum, Crash Cymbal, Triangle
3. Bass Drum, Crash Cymbal (shared with player 2)
Harp
Piano
Violin I
Violin II
Viola
Violoncello
Contrabass
MIDI File
INSTRUMENTATION
2 Flutes
2 Oboes
English Horn
2 Bb Clarinets
Bass Clarinet
2 Bassoons
Contrabassoon
4 Horns in F
3 Trumpets in C
3 Trombones
Tuba
Timpani
Percussion (3 players)
1. Vibraphone
2. Snare Drum, Crash Cymbal, Triangle
3. Bass Drum, Crash Cymbal (shared with player 2)
Harp
Piano
Violin I
Violin II
Viola
Violoncello
Contrabass
PROGRAM NOTES
The inspiration for this piece came from looking at orchestral scores from well-known composers, specifically symphonies by Gustav Mahler. After listening to a few of his symphonies and following along with the scores, I knew I wanted to write a piece for a full orchestra.
While the four movements are to be played separately, each movement adds to the strong setting that this piece encompasses. None are necessarily inspired by anything specific, but they all come from writing different melodies and orchestrating different groups of instruments.
Movement I (~5:30)
The opening theme of the piece is a repeated motif based on a B-major chord, quickly turning into an accompanying ostinato. Fanfare-like moments are played, and the theme of the movement slowly turns into a duet between the brass and the woodwinds. The timpani later enters and modulates this movement to E-major. This part starts light but is lately interrupted by the trombone, bringing back the fanfare-like moments from earlier. The end of this movement slows down to foreshadow the lyrical nature of the second movement.
Movement II (~3:30)
The second movement starts off with a chorale from muted brass and vibraphone; a variation of this chorale is then played by a solo violin, accompanied by piano. This is followed by a repeated motif from the timpani, and as the strings and harp join in, the upper winds and horns produce an impactful melody on top. The trumpets then interrupt with another fanfare, and a call-and-response is created with the trombones. As this movement comes to an end, the muted brass and vibraphone come back to wrap this movement up.
Movement III (~3:00)
The third movement opens with a high sustained G from the first violin, followed by the rest of the strings and piano entering at different times, creating a sacred texture. This delicate soundscape slowly escalates until the entire orchestra comes in, adding to the noble style of this movement.
Movement IV (~6:00)
Originally composed as two separate movements, the final movement of this symphony highlights both the swiftness and lyricism that the rest of this piece showcases. Light pizzicato strings start off this movement and accompany an English horn solo, followed by a quick glimpse from the muted trumpets. The winds and strings both take over the melodies, creating a fast-paced environment. The light style from the beginning comes back as the English horn and bassoon play a duet; more soloists get featured in this section, and soon the orchestra is back to the fast-paced environment that was previously created. This section comes to a close and transitions into the lyrical side of this movement, starting off with a charming horn solo. The vibraphone creates yet another transition to the final segment of the piece, and eventually, the entire orchestra comes in to create a powerful ending to this symphony.
PERFORMANCES
The inspiration for this piece came from looking at orchestral scores from well-known composers, specifically symphonies by Gustav Mahler. After listening to a few of his symphonies and following along with the scores, I knew I wanted to write a piece for a full orchestra.
While the four movements are to be played separately, each movement adds to the strong setting that this piece encompasses. None are necessarily inspired by anything specific, but they all come from writing different melodies and orchestrating different groups of instruments.
Movement I (~5:30)
The opening theme of the piece is a repeated motif based on a B-major chord, quickly turning into an accompanying ostinato. Fanfare-like moments are played, and the theme of the movement slowly turns into a duet between the brass and the woodwinds. The timpani later enters and modulates this movement to E-major. This part starts light but is lately interrupted by the trombone, bringing back the fanfare-like moments from earlier. The end of this movement slows down to foreshadow the lyrical nature of the second movement.
Movement II (~3:30)
The second movement starts off with a chorale from muted brass and vibraphone; a variation of this chorale is then played by a solo violin, accompanied by piano. This is followed by a repeated motif from the timpani, and as the strings and harp join in, the upper winds and horns produce an impactful melody on top. The trumpets then interrupt with another fanfare, and a call-and-response is created with the trombones. As this movement comes to an end, the muted brass and vibraphone come back to wrap this movement up.
Movement III (~3:00)
The third movement opens with a high sustained G from the first violin, followed by the rest of the strings and piano entering at different times, creating a sacred texture. This delicate soundscape slowly escalates until the entire orchestra comes in, adding to the noble style of this movement.
Movement IV (~6:00)
Originally composed as two separate movements, the final movement of this symphony highlights both the swiftness and lyricism that the rest of this piece showcases. Light pizzicato strings start off this movement and accompany an English horn solo, followed by a quick glimpse from the muted trumpets. The winds and strings both take over the melodies, creating a fast-paced environment. The light style from the beginning comes back as the English horn and bassoon play a duet; more soloists get featured in this section, and soon the orchestra is back to the fast-paced environment that was previously created. This section comes to a close and transitions into the lyrical side of this movement, starting off with a charming horn solo. The vibraphone creates yet another transition to the final segment of the piece, and eventually, the entire orchestra comes in to create a powerful ending to this symphony.
PERFORMANCES
- N/A