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    • Good. The parts doesn't seem difficult but they fit well in this classic style.
    • Very nice and enjoyable piece. I see you have a detailed and realistic (but difficult sometimes) writing for the piano and I like it. The overall feeling is very rhythmic, almost in an ostinato, so the counterpoint parts (teh beginning) are a good contrast. However, it doesn't sound impressionistic to me. It's tonal and harmony doesn't leave the audience any doubt (which is the essence of impressionism). I think it moves between classic and romantic language. But it's quite original, and that's what counts. (I'd love to see the mornings you describe in Iceland....)
    • Ah, Jared, these are marvels. The color, the structure, the abstractness. Comments for each piece individually are below. Gigue: The lilting effect was quite reminiscent of the sea. The theme was embedded and embellished throughout. I congratulate you! Serenade: Short but oh, so sweet! There is a richness here that was quite delightful. Music aside, I do believe you misspelled 'koi' at the end there. Dance: This one might have been my favorite. The colorful chords along with the tasteful rhythm kept me smiling. Fantasy: Superbly written piece, and the musical directions were just as fascinating.  Dirge: Another favorite of mine—so melancholic. And I found it interesting that you switched to French for the descriptive post-title. Curious as to your reasons for that... Toccata: Loved the back-and-forth between the hands. Also, you used the word 'epigram' in a piece of music. How pithy of you. Berceuse: What depth! And the colorful imagery throughout is just breathtaking! In m18, though, I was confused about the 8th note chord in the bass before the half note chord. If it's an appoggiatura, shouldn't it be attached by a slur? If it's not, perhaps put a little distance between those two chords so the meaning is clearer. Caprice: This particular piece had a strong taste of impressionism (Debussy would be proud), and the return to the original theme at m42 was masterfully done! Even though this piece moved quickly and the chords were unconventional, none of the nuances were lost on me. Very well done, sir! I continue to be impressed by your musical prowess. It's quite apparent you put a good deal of thought and planning into these works, and I suppose that's why I find your music particularly appealing. There is no superfluity, only an overarching cohesiveness that ensures every note that's written makes sense, belongs. You must be an aesthetic minimalist, because it's as if your music has been distilled down so that each idea is effectively conveyed using as few notes as possible. I consider your works nothing short of masterpieces. I do hope the world discovers you someday. Thanks again for sharing yourself through your music! I look forward to hearing more of it!
    • This song is the first in a five-movement suite inspired by my time in Iceland.  The opening theme uses counterpoint and sustained notes to emulate that feeling of joy-anxiety each new day brings. There is a transitional passage that builds with anticipation into the middle theme, which is harmonically less complex than the first—this is meant to represent that feeling of unbridled peace an early morning stroll in nature brings. The middle theme is repeated in various keys and modulations before the return to the opening theme and the piece ends in a soft, arppegiated finish. Mornings anywhere are special times, but I find them particularly breathtaking in Iceland. There are so few people and so many natural phenomena that one can't help but be spiritually touched by íslensk dögun—an Icelandic dawn. (Be warned: sunrises/sunsets are difficult to catch in high summer and winter, as the sun never really rises/sets.) I couldn't resist incorporating a morning song into a suite about that lovely country! The overall style of the song is impressionistic... you likely won't come away humming any melodies, but (hopefully) you will come away with those feelings etched on your soul for a while. BTW I'm a pianist and, as such, strive to make my piano songs as enjoyable to play as possible. You'll notice quite a bit of hand-crossing, melody-driven left-hand passages, and many other "fun" effects. I think that's enough words for now. Please, enjoy and comment! I always love hearing how the piece made you feel, and what did or didn't sit well with you!
    • While I am not as familiar with this piece as I am sure you now are, I felt you managed to capture the piece effectively for the orchestra! It certainly felt quite natural. My critique would be to be cautious in excessive line-doubling. For instance, in m. 64, while I understand the rationale in doubling the line of say the first violin, I can envision the woodwinds providing rhythmic accentuation there rather than simply following the lead of the violins (with the second violins following the first, but an octave down, a more resonant logic). The dialogue that you develop between the instruments, mm. 36 - 44 as an example, felt much more liquid and effective. Great job, nonetheless!
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