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The Lacrimosa for piano quartet was composed in 2019. It was written in reaction to the April 2019 Notre-Dame de Paris fire, an event that shocked me to such an extent that I felt compelled to put my feelings about it into music. The fact that one of the greatest architectural monuments in European history was suddenly getting destroyed was horrifying to me, especially considering that at the time, it was unknown how much of the building would actually survive. This performance is a remote recording - that is, a recording where the musicians involved record each track separately, often times in different locations, as in the case of this recording. The artists are Javier Orman from AirGigs on the violin, JonathanCello from Fiverr on the cello and viola (the latter line played on the cello), and myself at the piano; these musicians were absolutely fantastic to work with. Here are the links to their professional pages: https://www.javierorman.com/ https://www.fiverr.com/jonathancello/... I hope you all enjoy. 🙂

wow... brb i have to listen to your other songs now

I mean, this piece is pretty much perfect. Something Schuman for example could have written. So I can't give any feedback but say that I envy that work and your talent.

Hello fellow composers, I hope you're well during these hard times. I composed yesterday the "2nd impromptu" of my set of small piano compositions. I explore in it new textures and new harmonies. I planned to record it soon! Meanwhile, here the video of the computer recording with the score. Hope you'll enjoy 🙂

It's probable that most of us are dissatisfied with some of our work some of the time but we have to move forward. Most of us "get better" as we do unless we're stuck in a rut. It may not always seem that way but in small ways each new work is new experience building on what we've already done. It took Beethoven roughly 30 years to get from his first symphony to his ninth and we see massive development throughout. Who would have thought that Beethoven's last String Quartet (Op 135) came from the same composer as Für Elise? I still recommend you look for a daw. Have a look at Reaper. For small businesses and lone composers it's very reasonably priced and has an excellent midi editor....not so good at producing a notation view though. So...well, try to be positive. You have every reason to be. If you've decided you're going to hate all you compose you'll hit problems sooner or later, be discouraged from experimenting and developing your own voice. The good: you completed this movement; good: you've acquired much knowledge and skill. You can be optimistic about starting a new work and view any struggles as strengths as you overcome them. Most of us, I bet, get frustrated when things don't seem to go right. And I, for a start don't like about half the stuff in my 'catalogue'. I haven't thrown it in the musical recycle bin in case I ever have time to see if anything can be rescued from it. I've become a cut-and-paste, split-and-splice merchant to be sure. But then, there's always something about which I can feel some satisfaction - and that urges me on. I hope it's the same for you. .

Maybe set it aside for a month or two. Get on with new pieces then when you revisit this you'll probably make a few changes. It's a way of "standing back" to see/hear the work through fresh ears. We could all pick holes in the scoring but such crits relate to our own styles. You are your style in development and it's up to you to develop an ear for how well a work meets your aims. Developing a self-critical ear is vital so you can experiment. Even small nuances, an adjustment to a dynamic, a slight increase in a sustained note can make a big difference. (quote)Well, there are a ton. You can compare it with the revised version, but it is sucks. (The oboe sounds really bad and the woodwinds aren't loud enough for some reason.(end quote) And here, you see, you're wrestling with software, not the music. If you were working in a daw midi editor with a good sample library you'd have precise control over every note. You have to control not just what note is played but HOW it is played. Presumably you aren't in a position to change that immediately so we have to try to hear through the software limitations. Using a daw should definitely be on your horizon, though. It's obviously worth considering all technical comments here - you can take them on; disregard them; or see if they give you ideas for things even better. Don't be afraid to experiment until you get the sound you want. Get the harmony put right if you think someone has spotted an error. But no, it does NOT suck. It's a great effort and a worthy realisation. The harmony progresses smoothly. The development is thoroughly engaging; the tunes are good and stylistically consistent. It may need revision - a little touch up here and there but give it time to brew up! It's a success....Very few people here can put together a formal work of this length let alone early in their development. You'll always be fighting your software....the solo entries weakened by being too quiet against the accompaniment; reiterated notes that barely sound separated (particularly in the strings where they'd be light and distinguishable played spiccato by live players). Some very good stuff has been buried by the software itself. Whether you can get around this or not, I can't know. But you definitely have the potential to justify investment in a decent daw and sample libraries. They may seem expensive but you'll be set forever! This piece would be note-wise the same but sound very different put through a daw. .

The counterpoint sounds actually pretty good, Im no expert though! The "sonate" is very short so I don't hear a lot going on there but the etude and this small counterpoint seem a very good starting point, in my opinion of course.

Weird. I mean, the melody of the second theme follows a pretty common harmonic structure so it wouldn't surprise me if it is similar to other compositions.

Could you upload the score as a PDF?