Dorico 5.1 playing the finale of my 2nd symphony

I’m usually loathe to share works on software forums, it just doesn’t seem like the place for it, to me.

But in this case, well, I love the result of Dorico + NotePerformer.
I HAD made some minor tweaks to get get breaks after fermatas, but now with Dorico’s playback of fermatas and caesuras, I simply removed most of that manual adjustment.

Also the wonderful result of trombone glisses actually glissing!!!

The recording is here:

and I’m attaching the beautiful score Dorico produced.
Edward_Sinfonia_Canadensis_5_Northern Variations.pdf (1.9 MB)

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Wow, what a tour de force! A beautiful and exciting piece.

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Agreed. Well done!

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Impressive!

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thank-you.
I consider my 2nd symphony, the “Sinfonia Canadensis”, to be my magnum opus.
If I never write anything else, I can die happy knowing that I wrote this.

It’s an incredibly personal work for me, very emotional. The entire 30 minute symphony is a sort of “travelogue” of my various trips across Canada, so each movement describes my emotional reactions to each region: the Northern Forests of Québec and Ontario; The gloriously underappreciated Prairie provinces; The vibrant Maritimes; the beautiful West Coast with its humid and rich forests and its imposing mountains; and this movement, the far north…

The movement is a set of “hidden variations”, starting with a thematic exposition, then the Tundra and lichen, the little paws that scurry and thrive in a seemingly inhospitable environment, the great whales in the northern watery passageways, the resilient Peoples of the North, the deadly north wind, and the long-awaited arrival of spring and the sunrise.

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Beautiful piece, very impressive. Congratulations! I enjoyed it very much! The music and the performance!

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Wonderful! Beautifully done, very effective realization. Thanks for sharing this!

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Oh, and lest it not be clear, this is the score as you see it in the PDF file, being played back within Dorico, with no external help.

It’s also simply the instruments from NotePerformer, which I happen to like the sound of.

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Yes- I assumed as much. The compliment is to you, and to NP/Dorico. But you get the lion’s share!

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thank-you :blush:

Well, I like to think of myself as a reasonable composer, but in the 45 years spent trying to write something meaningful I’ve not managed to get anywhere near what you have managed to create here. You have every right to be justifiably proud of your achievement. Simply superb.

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Michel_Edward, I don’t know where to begin. Your piece is magnificent! What an ending! Although NP and Dorico did a great job “performing” it, I would love to hear a symphony orchestra play it in a wonderful music hall such as Boston Symphony Hall. Please don’t loathe to share some of your works with us. As a composer myself, listening to a piece like yours (and looking at the score) is an uplifting and educational experience, and shows me what is possible in the art and craft of musical composition. Thank you for your generosity. BRAVO!!!

Mike

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thank-you all for your kind words.

it’s been very difficult as a composer.
the local music scene here is really (and I mean “really” as in “only”) interested in very avant-garde music (and by “avant-garde” I mean music that was being written in the 1950s)

So it’s almost impossible to get a tonal work like this symphony even looked at by a conductor.
I’ve “been there done that” as far as the avant-garde thing is concerned. 30 years ago.
I made a conscious decision to write music that I wanted to hear, and hopefully music that would create a bridge between musicians and the audience.
I didn’t want to talk down to my audience, but I also didn’t want to be so lofty that they have no idea what I’m trying to say.

It’s always a difficult line to walk, the one between writing something that remains accessible, and being absolutely true to your own artistic vision.

I happen to love many very modern non-tonal works. two of my favourite violin concerti are the Berg and the John Williams (1st concerto). But that’s not how I express myself. I do like including some “crunchy” passages (like the North Wind variation in this symphony movement.)

I don’t believe in pushing boundaries “just because”.
But I think we should all, in some way, in our own way, be pushing OURSELVES to explore our own frontiers. It should never be someone else imposing the frontiers upon us.

Composing music (like creating ANY art) is such an incredibly intimate act, and yet at the same time it is exposing our own intimacy, our strength, and yes our frailty, to the audience. It should be up to us to decide just how far we want to go.

Yet I remain convinced that we can do so without stagnating. There is always room for improvement. There is always room for a bit of exploring new directions, even if they aren’t very far from our home turf.

So with our brilliant tools (and my most heartfelt thanks to @dspreadbury and the entire team who created Dorico, and to @Wallander for the magnificent gift that is NotePerformer) we should forge ahead, waste not a moment of our limited time on this Earth, and share what is in our hearts with the rest of the world.

Michel R. Edward
Crabtree, Québec

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Simply ineffable (too great to be expressed in words; indescribable). Very well done.

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Great work! :clap: I :heart: tonal music and YOUR decision, and I :heart: Dorico and Noteperformer, e.g., the NP solo cello. I’m really looking forward to discovering more of your music on SoundCloud and YouTube. :wink: Thank you for sharing!

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Michel, I’m lucky in a way. The music I like is usually in tune with what the audience likes. (I’m talking about serious, concert music here, and not popular music.) I eventually turn away in boredom when presented with an atonal work. Atonality, IMO, is an interesting and intelligent experiment that, unfortunately, failed. It alienates too many people. And a composer has to ask himself/herself who he is writing the music for. If it is only for the composer’s ears alone, then why not? Be as ugly and dissonant and “crazy” as you want. (Hey, from what you describe as the situation with conductors, maybe we’d all have a better chance at succeeding professionally.) But if you are writing music to be shared with others (and in my mind, music is meant for sharing), then you probably should write it in a style that is understandable to most people. As a comparison, if I wanted to write the proverbial Great American Novel (yawn), then it makes perfect sense for me to write it in English; not in German, not in Arabic, and not in Swahili. But I’ve sermonized for too long. I only know that I will probably never write a piece of music that both I and the concert-going public will hate. Please, Michel, keep doing what you are doing, and I will continue to write music that, to my ears anyway, is beautiful, exciting, interesting, enjoyable, and fun.

Mike

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This is the best composition and performance I have ever heard from a notation program - congratulations!
I would love to study the Dorico file. There’s a LOT to learn!
Thank’s for sharing :+1:

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What a beautiful, thoughtful and delicious feast for the ears! So much better-and genuinely more musically written than much of the ‘new’ music that seems to dominate the taste of some current orchestras and ensembles when it comes to contemporary composers.

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Beautiful, clear, and TIGHT! (NotePerformer’s rendition is pretty good, too.) Many thanks for the C-score.

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I may be misunderstanding your comment, but… the score is actually transposed. it looks like it’s “in C” because the tonal centre shifts continuously, so I don’t identify it using a key signature.

but clarinets are in Bb, so sounding a major 2nd lower, English horn is transposed, sounds a 5th lower, same with horns. The trumpets, mind you ARE trumpets “in C”, so no transposition.