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Thank you for your instant response! As I am new on YC - it is like attending a house music concert for the first time where all other guests are still unknown - it is very pleasant to be welcomed warmly by the host (according to my reading of a number of the latest posts I have noticed that you are very active in replying to new submissions and as you are one of the „Moderators“, I consider that you are one of the „hosts“ among the YT community). I will take a more thorough look at your profound comments concerning the composition of my fugue as soon as possible. The applause at the end - I know it's a bit embarrassing, but I added it for technical reasons, because I often had the problem that videos on iOS devices were cut off when there was only silence at the end, and one wants to hear of cause the final chord after all. You have recommended to follow @Fugax Contrapunctus. Interestingly, I’m already a (still silent) follower of him on YouTube and I found the YC website only due to he has linked it in its YouTube profile. I’ll watch his fugues (an your own, linked one) in the next time a bit more thoroughly to be able to give a reply, too. Greetings from Wieland

I’m working on a project to compose 24 preludes and fugues, inspired by Bach’s Welltempered Clavier and Shostakovich’s Op. 87. The fugue in F major is my first post to the YC community, which I would describe as WOODPECKER AND BARCAROLE - FUGA SCHERZANDO The theme, knocking, with a sixfold repetition of the root note, counterpoint and interludes, on the other hand, in a swaying, rocking quaver motion. This contrast of “woodpecker” and “barcarole” makes up the jocular character of this fugue, underlined by the interjections of “wrong notes” - inspired by Shostakovich's D flat major prelude - in the coda.

A new poetry from the same Laforgue I can post the poem here, which is a beautiful black diamond (an automatic translation but quite close to the meaning) As always at Laforgue, irony, tenderness, idleness of an impossible platonic love We know that he loved a young Englishwoman with no return, and I think it was she who inspired him his most beautiful pages, here in the evening of his short life. Thank you for your reviews and comments! Ah! tonight, my heart feels sick, my heart is with the Moon! O veils of silence, spread out your still lagoons; O rooftops, terraces, basins, loosened necklaces Of pearls, tombs, lilies, grieving cats — give praise To the Moon, our Mistress to all, in her glory: She is the Host! and silence is her ciborium! Ah! how good it feels, oh! so good and sweet, in the halo Of mourning around this finest diamond’s glow! O Moon, you may find me a bit romantic, But tell me — now and then, wouldn’t it be frantic To think — just between us, and only if you please — That I could be your Columbus, on my knees? Well, let’s not speak of that; let’s chant the midnight rite, Preserved in alcohol, steeped in your delights. Slowing down towards us, O weary City, Fibrous cell with broken organs, withered pity! Remember the centaurs, the cities now erased, Palmyra, and the snub-nosed sphinxes of Thebes the chaste; And what Gomorrah, beneath your Lethe lake, Hides catacombs in honor of barren Astarte’s sake! And how mankind, with his “I love you” clichés, Is much too anthropomorphic in his ways, And knows only how to muddle through his days With hellos and goodbyes while twisting love his way. — Ah! As I was saying, and more than once or twice, That my heart is sick — my heart is with the Moon, precise.

Thank you, Henry, for your careful listening. Yes, you’ve pinpointed exactly what I’ve tried to do — and what lies at the heart of my exploration through these Laforgue settings: to stay on the edge. On the edge of tonal harmony, of expected progressions, of almost conventional paths — but always trying to veer off, to wander. The same applies to expression: sometimes as simple as possible, sometimes ambiguous, sometimes hidden. I’m trying to find that forest’s edge where Laforgue leads us with his poetry, into his moonlit twilights and his lost loves — which I know all too well. You mention Schubert — of course, and your ear is sharp. I couldn’t deny it. Once you enter these borderlands, how could you not have Schubert in mind? Again, thank you, Henry — your sensitive listening is a true gift that brings light to my moonlit paths.

Hello everybody, I would like to post some piano music of mine here. I have lots of uploads and I don't intend to clog anyone's feed, so I will try to present them over time rather than at once. This is a short album I released one and a half years ago (28 minutes). I like to play around sudden tempo changes and unexpected modulations, and this marked what has been a gradual push for me into that direction. There is lots of humour (though it's not to me to judge whether it gets to the goal or not). I am curious to hear your thoughts on it, what you may or may not prefer, and similar. Any thought is welcome, even just a simple "I liked it/I didn't". Thank you in advance. I am embedding the video here.

Hi Henry, thank you for listening and replying. It is indeed "Bad Sallad", a pun on "Sad Ballad" because, as you pointed out, there's a bit of mixing things that shouldn't belong together (the English & American anthems, reharmonized and thrown in between movements of a sad waltz). So, from a sad ballad it ends up being an unusual salad of themes 🙂"Bad Sallad". The album is generally quite humurous, on the nonsensical side

Hi Alex! Haha yeah who knows why I put the bluesy section into the otherwise Beethovanian and Chopinistic movement! I like the bluesy section myself too, it really does sound nihilistic. Hahaha! Thx for commenting! Henry

Lately, I've been thinking and imagining how Ancient Greece was reinterpreted in Impressionism. And well, all of that inspired me to write something. The dawn is that moment before sunrise when there is already light. For a brief explanation of what resources I use: Aurora

https://www.youtube.com/watch?v=Td9pPZojLKg Hey, I'm 17 and I made this choral piece in 2 class periods and just had its world premiere and I would love some feedback! This piece enters an aleatoric section at the end that unfolds without a conductor. It is designed to gradually evolve from independent, overlapping textures into a shared, harmonious cadence. This section represents a journey from freedom to unity, from motion to stillness, from individuality to communion. The endless cry for answers about what happens after death, until it ultimately comes to an end, so it starts chaotic and ends in unity with no conductor thoughts?

hi everyone! This is my first post here—I'm excited to join this community! I'm not a trained composer (just a flutist), but I recently wrote a wind quintet as a gift for a friend, and I’d really appreciate any feedback or suggestions you might have. The piece want to create an intimate atmosfere, something pastoral and calm. It is based entirely on the melody of the Italian scout song "Strade di coraggio". The theme appears clearly between bars 174 and 218 where its passing from a voice to the other, though it’s hinted at in individual instruments earlier. I was working under a tight deadline, so I had to rush through some parts. Dynamics and articulations are still quite rough and mostly sketched in. Thanks in advance for listening and for any thoughts you’d like to share! i hope you will enjoy it although its a but rough, ripetitive and without form. https://musescore.com/user/36133708/scores/25786078 Wind quintet 1.xml Wind quintet 1.xml Wind quintet 1.xml

Hello @Valerio DallaRagione, I don't listen to the whole album but only the first two pieces. The beginning sounds as in a Bartok piece but then in the middle section it becomes impressionistic, and the same thing repeats again. I quite like the ending when the key of the first section and mood of second section combined. For the second piece is it Bad Sallad or Sad Ballad? It's indeed quite sad, a F minor waltz. I find the modulation in 5:27 a bit abrupt for me with a sudden A major chord superimposed after a firmly established F minor, and then to D minor. I would also hope the D minor section in contrast with the F minor section more, instead of just the reappearence of the first section in different key and accompaniment! The ending reminds me of @ferrum.wav piece. I like the G major passage even though it's a quotation (or rather a playing) of the French Anthem. But why do you quote it in the Ballad? Is there a reason for it? I would like to know it, because I think it a bit out of place here haha. Nice playing anyways, thanks for joining and sharing your music! Henry

Hi Jean @Krisp! I again misread Baryton as that poorly eliminated string instrument Baryton which Haydn wrote 123 Trios on lol. I really love that D minor setting with dissonance. I especially love in 0:48 when you paint "Ciborium" with a beautiful but wierd E major chord, then moves immediately to a weird augmented chord E-G#-C, and then with "mourning" move to F minor! And when you ask "could I be your columbus" it's mixed with both hope and despair so the music fluctates between F major and minor, just like Schubert's Lied though yours is more sudden. Now in 1:56 when you are recollecting your thoughts it starts with a barer A minor but again fall into dissonance through dreaming the false Idea. I absolutely love the 2:50 chord and that whole passage. The ending E minor passage is so well sung especially for "muddy" when your voice becomes muddy. I love how you end unprecisely with the word "precise" to give an irony there. Thx for sharing your great work here! Henry

Welcome to the forum @Wieland Handke! Sorry for my late response as I have been focusing on my own composition and other matters this few weeks. The subject is indeed woodpecker like with all those repeated notes and staccato. I personally would want the tempo to be much faster for the scherzando feeling though, just like some gigue like fugue Bach made, or the gigues in his suites. I like your subject, it can easily form stretti and inversion as your later developments do. I definitely like your sudden modulation to A minor in b.52, though at the first beat of it I would want a G# for a full chord. In b.64 even though I know you are trying to have a faxbourden texture there, I still feel it a bit off given it's a 3 part fugue, and they are in diminished fifths, not in fourths. The surprising dissonance at the end are really interesting which really likes a hopping bird. I would end with a full rather than a hollow fifth at the end. And the clapse at the end, I don't like it at all lol!!😝 Nice fugue anyways. Given how you like fugal writing, you may check out Pabio's @Fugax Contrapunctus writings. Or my six voice fugue for a String Sextet LoL! (Self advertisement!!) Thx for joining and sharing your music with us, I'm sure you have tons more music to offer and probably even reviews to other members! Henry