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Thanks for your thoughtful reply. Actually I have gotten more people satisfied with the ending than not but as I have written elsewhere, I do agree it COULD be part of a much larger work -- I liked SSC suggestion that this may be one of a series of movements or Fantasies.
Interesting you said the first four bars I worked hardest on. In a way yes as it took a long time to satisfy my ear. But I worked hard to get the triplet figures to sound over fragments of the chorale theme in the bass which was very difficult due to the density. The easiest part was the middle section with the quintuplets .
As for it being a true chorale variation, you are correct, it isn't. It uses soem of its principles --- eg taking the first portion of the theme and placing it in the bass (played by pedals) over a triplet figure (which is derived from the first few notes of the theme). As this triplet figure serves as a transition to the recitative like sections and then to a recap and codetta, the piece is really ternary.
Eventually I may return to it and write a sequel with some thematic relation to it. But I really need some distance from the work as I spent a few months on it while doing other composition assignments and fulfilling other personal/professional obligations. Plus I have heard it performed twice (the organist loves the piece!) so my ears need a little refreshing before going back.
As for a Hindemith fan not really but more because I haven't explored a lot of his works. What I have heard I have enjoyed but not enthralled to go back to it often. Probably should as the guy's musicianship was astounding. Ever do the exercies from his "Elementary Training for Musicians" - you wonder elementary for whom!
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