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Topic: Symphonic Poem about The Hague - part2

  1. #1

    Symphonic Poem about The Hague - part2

    I need your advice.Originally I had another sequence in mind, but after ample thoughts I decided to do this one as a sort of "contrast" to that rather wild first piece.

    The story:
    The 3rd of march 1945 the Allied Command decided to bomb the german launch site of V2 rockets, situated near the centre of The Hague. Instead of that they made a terrible mistake and bombed the neighbourhood (they had the coordinates 90 degrees turned!!!!). Hundreds of casualties, thousands homeless and the following fire destroyed a complete district. Two months later the german's capitulated. A complete waste of lifes.

    This piece is just after the bombardment, violence is silenced again and now the grieve sets in.

    Symphonic Poem about The Hague - Part 2 [again straight from Overture/in Boxnet]

    I am not sure what to do. Should I lengthen this piece with other instruments, setting a different theme or a variation of the themes given or should I stop here? My personal opinion is to stop here, all grieve, sorrow, mourning is put into this string quartet.

    Please some advice is welcome,


    You notice that near the end the timpani sets in, telling the slow steps people make when returning to their destroyed belongings. The last three bars have the ti-ti-ti-do of Beethoven's 5th. Why? Radio Oranje during the War, started their broadcasts from London with those tones, also on a timpani. When people heard these tones, they stayed in the room to listen to those "forbidden" radio's. By the way, this website doesn't allow the name of the germans during the war. You all know what I mean. It seems censored.

  2. #2

    Re: Symphonic Poem about The Hague - part2

    Hi Raymond, I found this piece very moving indeed. I like it as it is, understated and not at all self-indulgent. It tells the story that it's supposed to, nothing more and nothing less - Perfect

    You can listen to my latest piece here -

  3. #3

    Re: Symphonic Poem about The Hague - part2

    Hi KevinD,

    that's what I thought also. Sometimes one needs some advice. Listening to great symphonies, I always wonder how they walked from one idea to the other. Take Brahms, Schubert's 9th, Mahler's 4th and you hear some very nice transitions between ideas, coming back later on that first original idea in another form and mood. But as you said, the story has been told and it is no use making it longer.

    A friend of mine always says: don't make it literature by telling us how beautiful some trivial things are. Keep focussed on the things you want to say. A good advice, though on some occasions, it can make a difference putting more words into it.

    Thank you for listening and your comments,


  4. #4

    Re: Symphonic Poem about The Hague - part2

    Hi Raymond,

    I liked a lot of your ideas. The only advice I would give is to give it more dynamics changes and allow the strings to explore the full note range. Allow the basses to pound out some lows and the solo violins to soar. Also, writing some poignant solo passages with some other instruments might take it to the next level.


  5. #5

    Re: Symphonic Poem about The Hague - part2

    Thanks John,

    Dynamics changes: I am not so familiar with Overture (yet) that I can do that here, must wait until it will be Sonarized. I'll see what I can do in Overture.

    Full range: seeking the full range means that I have to introduce some "mid-section" where I can do that. The overall tonal mood doesn't allow me now, but I may be wrong and will have a second (and third) look at it, where it is possible.

    Basses pounding out lows: don't know what you mean by that, language/translation problem?

    Soaring solo violins: there aren't any solo in the strict meaning of the words (violas in section strings). I had to look up that word "soar" but I understand what you mean and will try to fit that in.

    Solo-ed passages: is the next level. Must find an area where I, almost without any transition, can go from the original idea to the solo passage.

    All your comments made sense and I certainly will try to "enhance" this piece.



  6. #6

    Re: Symphonic Poem about The Hague - part2

    Hi Raymond,

    What a wonderful basis for a musical poem!

    Length-wise I think it is fine - not too short or long.

    The dynamics will be sorted once you bring it into Sonar, so no worries there.

    My only concern with this, since you are asking for opinions, is that I felt the cellos (or is it violas?) to be too busy. I feel that more rhythmic variation would help add colour and pathos to this.

    I really like the finish by the way.

    I haven't heard your first movement yet, but I am eager to hear it now!

  7. #7

    Re: Symphonic Poem about The Hague - part2

    Alan and John, please never tell me again how to improve things. I am not yet ready, but it took many and many hours of hard work <just kidding of course>. It was very hard to do. I mean to add the cello part.

    Originally I only had: Violins1, violins2, violas and Contrabass. I used a lot of Xdim, X6, X7b5, X9-5 chords in the original file. And with those it is hard to add another voice and still maintaining the "on purpose dissonants" .

    I must say that the sound is a lot richer than before. Now seeking for a solution to "enhance the piece" with a bit of solo.

    Thank you both, I learned quite a lot doing so,


  8. #8
    Senior Member
    Join Date
    Mar 2004
    Wilton, NH

    Re: Symphonic Poem about The Hague - part2

    Hi Raymond,

    I think this very successfully conveys the mood. It is dark, sorrowful, a little frightened but not morbid. Very well done.

    I must have missed part one – I was away for a few days and have not caught up. I will try to look it up.
    Trent P. McDonald

  9. #9

    Re: Symphonic Poem about The Hague - part2

  10. #10

    Re: Symphonic Poem about The Hague - part2

    Raymond, this is some of your best writing. Deeply
    moving, firmly grasping our emotional chains.

    As to what to do with it, per your musings above...
    I see much more coming from this than you have given
    us. It begs for greater development, to my ear -- it is
    so rich in material. Were it me, I think I would certainly
    give serious thought to developing this into a full
    orchestral treatment, as well.

    I look forward to what you will do with it!

    My best,


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