SAROVAH: Symphony No. 1 Op. 18 in F Minor ("Primavera" (Original Composition)

SAROVAH: Symphony No. 1 Op. 18 in F Minor ("Primavera" (Original Composition)
The first symphony of SAROVAH dedicated to non other than his Parents. (This is my original Composition). I made a Poem about Spring that is linked to the Symphony. (It's In Italian. I'll put the translation here too.)
Movements:
I: "Springs Arrival": 0:00
II: "Stampede of the Animals": 20:13
III: "The River": 30:12
IV: "The Storm": 48:32
Poem (Italian):
Ah, ah, ormai è primavera! Ah, ah, ormai è primavera! Come può un mondo del genere essere così bello e crudele allo stesso tempo? Stai bene? Ti ha fatto male? Era ora che arrivasse la primavera. Non so cosa avrei fatto senza di te. Sarei stato perso nei miei pensieri, le parole mi sarebbero uscite come una cascata che puoi vedere solo una o forse due volte in primavera. SE sei abbastanza fortunato, lo è. Ma le parole possono uscire, perché non posso parlare? Aiuto, aiuto, Primavera, per favore rispondi alle mie chiamate, non voglio essere lasciato solo. "Ciao, ciao? Primavera, perché non puoi ribattere? Puoi fidarti di me! Sono io! È la tua persona preferita!" Questo è ciò che si potrebbe dire se fossero abbastanza patetici da capire che la PRIMAVERA chiama solo TE. Non è possibile in nessun caso rivolgersi all'IT. TI CACCIA. Corri finchè puoi, perché secondo me la primavera, mia cara amica, non si fermerà davanti a nulla. E intendo davvero NIENTE per ottenere il suo calore feroce ma delicato ma quasi umido come GRIP su di te E NUTRIRSI DI TE. NON TI REALI CHE È POTERE. HA TUTTO IL POTENZIALE. NON DEVI parlare con lui e loro IN QUESTO MODO, che tu possa volerlo o no. DEVI CAPIRE che se manchi di rispetto COSÌ. Hai fatto. Per sempre. Ti trascinerà nell'abisso dietro la cascata che cade e ti dilanierà con i suoi artigli affilati di animali, parole, poesie di primavera e saggezza. Se sei abbastanza fortunato potrai vedere la cascata da dietro solo per la prima e ultima volta. Fino a quando non sveni e questo banchetta con il tuo corpo. Né tu né io possiamo comprendere la sua piena potenza, o il suo pieno potenziale! DIAVOLO, NON LO SAPREI NEMMENO.
Poem (English):
Ah, ah, it's spring now! Ah, ah, it's spring now! How can such a world be so beautiful and cruel at the same time? Are you OK? Did it hurt you? It was time for spring to arrive. I don't know what I would have done without you. I would have been lost in my thoughts, the words would have flowed out of me like a waterfall that you only see once or maybe twice in the spring. IF you are lucky enough, it is. But the words can come out, why can't I speak? Help, help, Spring, please answer my calls, I don't want to be left alone. "Hello, hello? Spring, why can't you talk back? You can trust me! It's me! It's your favorite person!" This is what one might say if they were pathetic enough to understand that SPRING only calls YOU. It is not possible to contact IT under any circumstances. IT WILL KICK YOU OUT. Run as long as you can, because in my opinion spring, my dear friend, will stop at nothing. And I really mean NOTHING to get his fierce yet gentle yet almost wet heat like GRIP on you AND FEED ON YOU. YOU DON'T REALIZE THAT IT'S POWER. IT HAS ALL THE POTENTIAL. YOU DO NOT HAVE TO TALK TO HIM AND THEM LIKE THIS, whether you may want to or not. YOU MUST UNDERSTAND that if you disrespect SO. You have done. Forever. It will drag you into the abyss behind the falling waterfall and tear you apart with its sharp claws of animals, words, spring poems and wisdom. If you are lucky enough you will only be able to see the waterfall from behind for the first and last time. Until you pass out and it feasts on your body. Neither you nor I can understand its full power, or its full potential! HELL, I WOULDN'T EVEN KNOW.
Instruments:
Piccolo (2), Flute (2), Oboe (2), English Horn(2), Clarinet Eb (1), Clarinet Bb(2), Bass Clarinet Bb (2), Bassoon (2), Contrabassoon(2), French Horn(4), Trumpet(3), Trombone(3), Tuba(1), Timpani(2), Bass Drum(1), Snare Drum(1), Cymbals(1), Violin (1,2), Viola(1,2), Cello(1,2), Contrabass(1,2), Soprano(voice), Alto(voice), Tenor(voice), Baritone(voice), Bass(voice), Women (Choir), Men (Choir)
Tags:
#musescore #musescore4 #originalcomposition #symphony #fminor #music #classicalmusic #classical #orchestra

[@Musicrafter12]

Someone's been listening to a lot of Mahler!
There are some direct quotes from the Adagietto in the third movement. Even elsewhere, the Mahler influence is obvious, but the piece generally lacks the narrative thread that propels it forward that a Mahler symphony might have. Many times you repeat motivic fragments verbatim without any variation multiple times in a row, which leads to the impression of just wandering in circles or, dare I say, padding the run time. It often feels as if there is not much of a melodic thread underpinning your more glacial passages either -- at least, that is, a melodic thread that isn't lifted from the Adagietto. It often sounds like just an interesting chord progression, which can work for a time, but only a couple of times before it gets old.
Some moments really are quite striking or beautiful, but there is a lot of superfluous connective tissue in between and a non-trivial amount of borrowing/plagiarism. Writing 80 minutes of music is hugely impressive but I'm not convinced you're ready to have written something this massive.

[@sarovah1]

Yeah, I knew the quotes were to obvious to those who listen to Mahler. Haha he is such an inspiration, However I am already in the making of my second symphony. It'll be around 90 minutes long but more simple. The Phycology behind the simpler 2nd symphony is about life. From the second a person was born, to the death of the elderly with their forever couple dying peacefully of old age, but no more spoilers. (And the IV movement of Mahler 9 is inspiring the last movement along with my own thoughts and emotions of course.) Thank you for your feedback though, greatly appreciated!