Tempestas Scotorum -- Symphony no. 17?

I put a question mark in the title on purpose. Just completed a work which was originally planned purely as a description of the fickle Scottish weather. The three movements 1. Storms and sunshine, 2. Fog and Ice and 3. Spring breezes, were supposed to be self-contained as Scotland lacks what most people would define as a summer. However, after a couple of weeks break, I then decided to add a “Simmer Dim” movement which refers to the not fully dark nights in June. I also got the feeling that the tight thematic integration with everything based on a handful of motifs stated at the outset, the division into four conventional movements plus the fact the piece at times reaches quite a high dramatic and emotional level does in some respects qualify it as symphonic so it’s provisionally listed as such on my Reelcrafter site.

But I would be interested to hear whether the handful who manage to find the time to listen to this feel this as more of a suite than a symphonic work? Perhaps a few of those who are not interested in my work might still be curious to get a taste of a typical Cinematic Studio with NPPE rendering 100% produced in Dorico of course.

link is: https://play.reelcrafter.com/dko22/symphonies (under Symphony no.17)

1 Like

I now realise that this forum is probably the wrong place to link to a full work (and mine are almost never short) but just in case some interest is there, here is a link to the last movement which is probably the heart of the piece and has a rather simpler musical language. The inspiration for this was the wonderful last movement “At Night” from Novak’s “Slovak Suite”

1 Like

Hello David, I have had your “Simmer Dim” on an open tab on my iPad for a few weeks, but having just recently finished a big project, I am finally catching up with a few things! I enjoyed the movement, and was transported to the Scottish Highlands and the somewhat bleak weather that is often experienced there. I found your use of mallets in the texture to be particularly interesting, and the overall soundscape was nicely punctuated with occasional swells and successful use and development of your thematic material.
I liked the CS with NPPE rendering, and didn’t hear any obvious places where the articulations seemed inappropriate. I have just picked up the CS Brass library myself and am integrating it slowly into my template. It does has a lovely warm sound and is relatively easy to manipulate inside Dorico.
Finally, I’m sure this work can qualify as a symphony. I heard the other day about Michael Wolters’ Spring symphony which lasts for 17 seconds, so if he can call that a symphony, I don’t think you have anything to worry about!

now, now, Andy – you’re doing Wolter’s Spring “Symphony” an injustice - it lasts for all of 26 seconds (in the recording I heard, anyway)! Anyway, I appreciate your taking the time over this work and am glad you seemed to enjoy both the music and have been persuaded to invest in more stuff from Cinematic Studio. Looking forward to hearing what you yourself have done with it in your finally finished project.

Well, now that I’ve heard it, I think the conductor was spinning it out a little…Certainly a masterpiece of PR, but not much else.
Finally getting chance to really dive into the pitch contour emphasis feature in Dorico. Does your rendition with NPPE take advantage of this feature? What sort of values have you found to be successful?

Briefly, I always have pitch contour emphasis activated even though there is one school of thought which says that with NP you shouldn’t – I can’t say I agree. I seldom find I need to change the settings from default significantly to be honest.