well this is the just completed opening of my first chamber score written entirely using Overture (or any other notational software for that matter) and GPO. Like the symphony no.6, I would call it a consolidation work in the classic/romantic tradition rather than trying to break new ground (which may well happen with the next piece!). The visual prop of composing directly into a score makes it much easier to see that things are reasonably balanced and just now i'm mainly trying to improve my technique. The piece differs a little from a typical classical pattern in dispensing with the normal, exposition-->development-->recap-->coda by instead using various forms of development emerging directly from the 2 main subjects. The emotional heart is the quiet passage starting around 5'15"
I had the pleasure to listen to parts of this piece before and I have to say that I really, really love it, especially the beginning! For me it has great peace and the musical language presents clearly the ideas.
There are subleties in it that can hardly been heard the first time. I feel this rendition has more the character of a demo and it would be well worth being interpreted by a real string quartet.
many thanks for the responses so far --David, you are usually so generous with your praise that I almost get the impression this is not your cup of tea! Hannes, you've made two very important points here. Critically the comment about peace. The main theme is supposed to be tranquillo and the atmosphere is generally one of a slightly sad wistfullness which contrasts strongly with the more energetic developments. And of course this would sound much better with a real quartet who had at least a basic understanding of the music. I'd rather concentrate now on the music rather than an unachievable perfect rendering. GPO solo strings will improve (to be fair they are unsurpassed in their class and with the Strad we can see already what's possible) and when that happens, we might find more people trying to write string based chamber music.
I like long serious pieces the best, so I found much to like here.
The individual themes were most interesting, fluid and supple.
The piece did seem overly long, just too many ideas all strung together. I can't remember if a certain Symphony no. 6 was yours or not (reminded me vaguely of works by Berwald), but in this Symphony no. 6 I noticed a tendency to just start a new idea without, using Schoenberg's terms, first liquidating the previous one. I feel the same technique here too. Maybe it is intentional. But I thought I'd mention that I missed (maybe because I'm too ingrained) the noticable boundaries created by liquidation.
I have trouble finding time to comment a lot of the music, so I hope you do not mind if I chime in and say I greatly admire your Symphony no. 5, posted here not too long ago.