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A religious motet I began writing this afternoon and have finished composing in under five hours. I didn't initially think of the text when I first started, as is usually customary for me, but instead found the rhythms suitable for the text afterwards, and as such, took it from the passage of the Vulgate where the crucifixion of Christ under the connivence of Pontius Pilatus is mentioned, and then added a a reference to His resurrection at the end. Admittedly, this motet would have been more suitable for Late Easter, but alas, I guess only now have I managed to compose anything of the sort. Enjoy! YouTube video link:

Like many trio sonatas, this work consists of four movements: slow - fast - slow - fast. It starts with a three-partite Grave with a slight hint of French ouvertures, though then developing in a different direction. The second movement is a fugue. I am rather fond of a moment where all voices stop and the recorder and violin start the conversation of voices anew, and more lucid than before. The third movement is a through-composed Adagio, followed by a fugal finale in 12/8. This trio sonata is written for alto recorder, violin, cello and harpsichord, but a variety of instruments would fit too, though it leads to interesting changes in the character of the individual movements. I am not sure if the Grave and the Adagio shouldn't be swapped to increase the coherence of the music. Any suggestions welcome.

Wow It sounds very intense and spectacular, with 4 voices... The truth is that it catches you in a non-stop progression. I think the shortness of it benefits it given its textural intensity. The sound of the strings sounds like it's a podo “dejado” (I don't know how to explain it.... in Spanish “dejado”). Is it some effect. Greetings, and congratulations to your mother....

one of my favorites to cover:

Hello! Thank you for your very detailed feedback, I appreciate you taking the time to listen even though you normally listen to a little something else! A lot of your suggestions are interesting and I will definitely consider putting them into practice. My music, as I wrote, breaks from the classical form, is full of irregularity and deliberate inconsistency, yet can be simple at times. I draw inspiration from many directions, including jazz, Czech folk music and others, each of which influences the music in a different way. The simplicity of traditional music, the wildness of jazz: they combine to create something very strange and, at first glance, perhaps confusing, out of tune. One has to get used to it first, because the first listening seems different from what one usually hears, even from contemporary modernism. Anyway, I'll certainly consider a lot of the things you've written, as they contain ideas about how to perhaps get more in touch with a wider listening audience. Thanks for that!

N.I.C.E. ..................And each one no longer than 2mins.

A very good effort in a difficult form to get right. I would recommend more immitative counterpoint in the 1st movement---particularly in the cello. While I get the "grave" tempo and the intended feel, sonic interest might be better served by a bit more motion. Not to hinder but to ACCENTUATE.