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The Elegy in F minor was written in 2020. It is my second duet, since my Fantasy in G minor for violin and piano, Op. 4. The piece is about 14 minutes long, and contains 2 themes. This performance is a remote recording, and the cellist playing is JonathanCello from Fiverr, who recorded a few of my previous chamber works. https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?context_referrer=user_page&ref_ctx_id=d3f44413-d69e-4a0f-8b73-8ace49eedd1c&pckg_id=1&pos=1 As always, I hope you all enjoy 🙂

This is a really lovely piece, seems like the sort of thing that could become a community choir's favourite! I'm not a singer and don't have much experience of choral music, but I'd maybe be hesitant to write the bass parts as low as an E, especially at the very start when they are coming in "cold". I do love the harmonies and modulation present, and the 4//4 section really works well to break up the piece into sections. It's interesting to know that many of the chords were created randomly (with your judgement) - it shows lots of potential for further use! Thank you for sharing this. aMC

Maybe, but since this is a short piece I don't think you want to much contrast going on else it might confuse the listener. There are plenty of great modern pieces that even only use one texture and they can be notable for that. Yes of course, the imitation between instruments works for an antiphonal effect! And it's fine to have the contrast between two similar timbres - although a thrilling trilling horn, one of the most "raucous" (for want of a better word) instrumental sounds, should really be significantly far removed from a flute! Such is the problem of soundfonts... aMC

Lot of interesting answers here. To elaborate more for myself, just going through different genres was my main thing. Most of what I do now would likely be most similar to New Age influence; I guess when I think about it, I've wound up combining most of the previous genres I was fixated on into one. Orchestral elements, folk elements, and usually some form of band/rhythm section with a focus on melody and real or sampled acoustic instruments. It comes out sounding like Loreena McKennit, Yanni and a lot classic soundtrack music from the good ol' days, if I may be so bold. I actually think the very process of getting older is mostly what has motivated these changes; I know it's a cardinal sin to say you "grew out of" metal, but I really think that's what happened. I remember when I was 24 or so, a friend asked me if I wanted to play guitar for some live shows in his cover band playing rock music and rock arrangements of video game music. I declined and I came to realize that the reason was that, even though I still like the music and do write the odd electric-guitar song here and there, there's just no way I could get up on that stage and pretend I'm 16 again. I do think that, with certain popular music genres, there is an inherently youthful aspect and not too long after it becomes cringe and perhaps even undignified; look at Stephen Pearcy from Ratt. The man is in his 60s, still covered in tattoos, drunk all the time, and up on stage bumbling around still trying to belt out some song about girls and partying like he's still 20 years old and I'm sure that, in his mind, for that hour and half he's back on stage — he is. But yeah, other than that, I can't really stand electronic instruments and synthesizers anymore. What I like about acoustic instruments is that if you have a good room, a good instrument and a good player, you can basically just put a mic in front of them and let them fly at it and it just works; it sounds exactly like you'd hoped and expected. But creating a good synth patch and getting a good distorted guitar tone — I'd say for every 10 electric guitar tones, there are 9 bad ones — are arts unto themselves and very time consuming. A teacher of mine used to say that every minute you're screwing around with knobs and tackling learning curves, you're not making music. That leads me to the other thing that's changed: I just want to make music; not screw around with knobs, mic placements, technology etc. to get the sound I want.

The first five minutes of this piece is the most moving writing I've ever heard on this forum. I'm not easily impressed, and I've been coming here since the early 2000s. It is sensational writing, and you are a sensational talent.

Hello again! Great to see you're back on the forum, with more wonderful music. I quite enjoyed these pieces, as always, they're so polished! The melodic quality is really high in these pieces. I really liked the second one in particular, I really liked the creative harmonic progressions and pianistic textures of that one - restless, melancholic, impassioned. I could hear you used the introductory theme/motif from your Piano Trio as the theme for the "Sunset" piece, that was a nice touch (that one is really beautiful and moving). Also, your playing is really good - I like how you shape the melodic lines and differentiate between the voices. It's cool to watch you playing, too. But also, I'm sorry to hear you have tinnitus. I imagine it must be a struggle for you as a musician, and in your private life too; though I'm glad you're able to counteract it with some useful tools, like the musician's earplugs you mentioned. Thanks again for posting! I always look forward to hearing your works! Also, you've gained a new YouTube subscriber 😉

You're always the first account I visit when I sign in here, which doesn't happen often these days (not because the site is bad, but because life has taken a different direction for me). Looks like you've been busy! As with all the other works you've posted here, I find this very impressive - both the work and performance. My personal musical leanings lie more with your earlier musical voice, but what I think really doesn't matter. It's clear that you are leaning very much to the Russian late romantic style, and we all must write what speaks to us personally. For the same reason, I feel there is little sense in criticizing. Anything I say would merely be reflecting my own musical tastes; certainly there isn't anything technical that is in need of correction. You know what you're doing. So instead, I will simply thank you for sharing this with us. This is something I find we, as a musical community, don't do often enough.

I wouldn't even say that it would accompany a film - definitely should stand on its own a concert piece. Although, perhaps it would present difficulties in a performance due to its complex scoring (those orchestras that do play in films will of course be used to that). I think your harp part is particularly well composed: not being overshadowed by the much louder orchestra, yet not a mass of glissandi and cadenzas (cadenze?). Well done! aMC

How true. The Grand Canyon Suite or his work "Alamo".

A very nice pastorale-styled piece. I felt it was rather densely scored (as if you worked straight into full score rather than start with a short score) but it brings beautiful melody and warm, languid harmonies. Very much a late evening atmosphere. I couldn't see the score in enough detail on my laptop so can't comment too much. If you insist on bringing the brass in in bar 11, it could be a little quieter. The less dense moment are gorgeous. Perhaps less doubling would make it more translucent. But these are just my views. It's your work and if you're happy with it, that's what counts. Well done.

I agree with the others - it is a wonderful landscape for a movie - a Film noir from the 1940's. I enjoyed the orchestration and texture/fabric of the work which strikes a good balance between spareness and fullness in mood. The harp is a nice touch as is the supportive strings which gives the work a lush feel.

Nice piece. It reminds me a bit of Ferde Grofé. Cheers, Jer

Quite beautiful and colorful. It's not particularly obtrusive and would do well as a cinematic background to the sunset. I love the harmonic language which is quite chromatic without being particularly dissonant. Thanks for sharing!

Nice piece! I like the G natural in the trombone at 26, and the chord at 49. Well thought and well handled