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Seeing as how a lot of the pieces posted here are more classically based...I will share something that I wrote during my own "romantic" era. For many years I did not listen to these pieces...aside from the music, there are events/stories that happened in my own personal life related to the music that made thinking about pieces too painful. But I think that it has been therapeutic to discuss and share music with you all in the past few months. So here it is. I wrote this when I was much more younger, much more angsty and had more hair. I am most proud of movement 3...if you only had time for one of these, please listen to no3. It's my baby. It's one of those pieces where I can die happy knowing that I did at least one nice thing in my life. Sadly I don't even know if I have the actual sheet music anymore, might have been lost to time. But the bare bones notation remains. I was a bit obsessed with the Chopin ballades when I wrote these, I ended up learning Ballade no 1, no 3 and no 4. So I've always felt like movement 1/2/3 sort of corresponded with the 3 ballades I learned. Anyways, hope that you guys enjoy...my technique has not been great these days, probably can't really play these pieces anymore in my old(er) age.

As of now, my best work! Hope you enjoy

Thank you so much for your wonderful words, my dear friend! I truly appreciate your kindness and the time you took to listen so carefully and share your thoughts. I would also like to make clear that my intention was never to create any kind of comparison between Henry and myself. Quite the opposite! My only wish was to serve this beautiful piece as best I could and bring out as much of its beauty and musical expression as possible. It was a genuine pleasure and privilege to perform it. Thank you once again for your lovely words and your friendship. It means a lot to me!

Nice, I listened to both. I think I prefer your version Vasilis. I don't know why, but measure 15/55 sound off to me. Measure 55, more than measure 15. I was wondering why and thus looked a bit closer at the sheet music. Perhaps it's because you usually change the chords around for the 1-2-3 (quarter/quarter/half), set up...but on measure 15 and 55...you skip that pattern and simply go for a pure repeat of the chords with no variation. It's like my brain is expecting it to have a slight Schubertian change in the chord, but it doesn't happen. I don't know that this is necessarily a bad thing, but something that stood out...a little bit when I listened. Since you are obviously a talented composer, I thought that I'd be a bit more nitpicky than usual with my feedback. Hope it helps in some way. Loved it overall. Classical music lives on!

Thanks for the kind words, friend. Once again...very humbled to have conjured up images/feelings of Bill Evans for you. I have not heard of Living Time. I had a listen on youtube...it sounds a bit more avant garde, perhaps more up your alley! For some reason, it reminded me of parts of the SimCity2000 sound track. I love the track titles... Event I/Event II, brilliant! I am going to have to take some to digest it all. Once again, thanks again for giving me something to chew on. For now, really liking Event VI. Very funk/rock and roll jazz feel! You bring up a great point about sheet music. This is something so obvious that I did not even consider. I really appreciate you sharing that point, it helps me much more than you might know. If you ever write a love song one day, please do share it! This forum needs more love songs (in my opinion).

Hello, This is great. I usually try to listen to your pieces when you drop a new one. This one feels a bit different, in a good way. Love the out of tune piano to start. Really digging the rapidly shifting colors that you are putting out there. I almost feel like I am listening to impressionistic music with through the lens of a solid classical music foundation. I could be wrong, but it feels like you are perhaps experimenting a bit? P.S. I personally adore Schubert D960.

Stunning stuff from what I hear! Some people seem to complain a little bit about it not going anywhere, but I think I can see the very slow development of it from my perspective at least, and I don't got any comment on the actual composition. Generally, the composition is great I just have some small nitpicks on the engraving that I think would go a long way in making the score look more professional/ be more readable to others. All of this is easily fixable, like changing how the instruments are displayed on each system. From movements 2-3 there's a small line connection thing that joins like instruments, but that aspect isn't consistent in the first movement where like instruments aren't connected to each other. Consistency in that, in my opinion, would help in making sure the score looks like one full composition. I would also note some collisions. There are places throughout the score where the slur comes fully in contact with the notehead or articulation, and this leads to less clarity in the engraving. Dynamics are also not aligned consistently. There was a spot (forgot the timestamp) where the middle dynamic was positioned far down from the hairpins which might result in less clarity for musicians reading this piece. Dynamics are also on occasion closer to the part below it or so close to its part that. In fact, there's a lot of compactness in the score and not a lot of room for conductors or performers to write down notes or see things quickly with clarity. I think a potential fix here is to increase vertical space between parts and decrease vertical space between some systems where there is a large blank space (nothing crazy though to make sure each system is still separate. If possible, I would also add a system divider.) You could also scale staff space down by some small amount to make for more space, but don't go crazy otherwise it might be so minimized it's not legible at a distance. If you would like, I have a full engraving book pdf called "Behind The Bars" that I could send you just to look through. I think doing this would help in getting your, quite frankly, amazing work get played live or be published professionally. Again, amazing composition, and I'm looking forward to hearing more from you!

This Moment Musical in A-flat major is the second piece of the four pieces I intend to write for relaxation after finishing the very heavy String Sextet. As the title suggests, I only want to achieve Schubertian simplicity with some contemplation here. The result is somewhat a bit beautiful and contemplative for me. Here is the YT link and pdf for you: 5-4-2025 Moment Musical in A flat Major.pdf This piece is the opposite with the Intermezzo in A, the first piece of the set, as it uses the theme from the 1st movement of my First Piano Sonata and the key and texture of the 1st movement of my Second Piano Sonata. The recording and this video is again made in a rush so the quality may not be good. Hope you enjoy this little piece! Here is the previous Intermezzo from the same set: Henry

Thank you so much, my dear friend! I’m really happy that you felt something different in this piece. Interestingly, the whole thing began as a two-hour improvisation, which gradually took shape and eventually became this Allegretto. I had Schubert very much in my mind during the process, and in a way, that’s how this little piece was born. His musical world has always been such a great inspiration to me, and I suppose some of that influence naturally found its way into the music. Thank you again for listening so attentively and for sharing your thoughts. I truly appreciate it!

My dear Henry, I am truly touched by your beautiful words and by this lovely gesture! ❤️ It is such a joy and an honour to have the opportunity to share your music with others. There is something profoundly moving about this particular piece, something that touches both of us so deeply. Perhaps it is because it carries within it a glimpse of Schubert’s world — that delicate mixture of tenderness, longing, nostalgia and quiet melancholy that speaks directly to the heart. It feels as though a little fragment of that beautiful Schubertian universe has found its way into your music. And I think this is something we both feel and cherish so deeply. The more I explored your composition, the more little details and emotions I discovered within it. I believe that when we truly connect with a piece of music, we can sometimes reveal things that perhaps even surprise its own creator. But all this beauty comes from you and your wonderful musical imagination! Thank you, dear friend, not only for your beautiful music but also for your kindness, generosity and friendship. I feel very fortunate to have met you through music. Sending you my warmest wishes and a big hug! ❤️

Hi all, I'm overjoyed to share a recording of this plece played by my dear friend @Vasilis Michael ! He completely captures the calmness and serenity of the piece with many details, and he plays the piece better than I do, and he understands the piece more than I do, and he excavated something from the piece I don't. What an honor to have such a great friend playing this great recording of my piece!! Thank you Vasilis! Henry

Hi to all, Just wanted to post a recent performance of my work "Echoes Of Seikilos" for piano and soprano. The musicians did a great job with it I think; though it's a shame about the police siren in the background! The score pdf contains a description of my intent for this piece. Hope you enjoy listening. Any criticisms welcome. Seikilos Epitaph variations (for piano and soprano) #68.pdf

This is my piano miniature. In this music, I wanted to capture the image of a doll or a figurine: a cold, lifeless kind of beauty... But is it really lifeless? =)

Yup, they are 陸王心學 instead of Zhu XI's 理學. And I really love them! I didn't go through them one by one, but I did read some Chinese philosophy books so I can basically grasp their thoughts. And their thoughts are essential in this piece of music. Thank you! I love that section too, it's definitely the climax of the 1st movement! I'm not that knowledgeable about Chinese music either so I don't know why I write like this, but in case the product is good it's good haha. But the Chinese spirit is true, I write this piece totally because I'm inspired by Chinese philosophy. Yeah again I don't know how I wrote that! Thank you! Thank you! Henry

Me. I've never written a single love song in my life. That is because no one wants to receive my noisy music 😅 But maybe someday? If I get a "beautiful musical spirit". Honestly, watching someone play is better for me. One reason is that I can glimpse their individual spirit a bit. On the Internet, it is difficult to get their character, so it helps me to understand not only their music but also themselves even better. Another reason is... "I CAN'T READ SHEET MUSIC!", haha. It's very personal since most of you guys can read it. As for this piece of yours and the video itself, I have already commented on your video, as you know. Have a wonderful day, grant. Oh, also, glad to know you love Bill Evans. I really love him too. He definitely has — hard to explain — unique and lovely, gentle, harmonic textures, touch, and tone, really great. I love him... He is one of the few musicians whose music, even when I hear clipping in his album, I not only don't care, but I couldn't care because I am totally indulged. Have you ever listened to the album "Living Time"? That is different from his main musical spirit, but it is also an amazing one. I talked too much, sorry, haha. Best, Lithl.

Here are a few more that might fit the bill: Joep Beving Otto Totland Hania Rani Joe Hisaishi (The piano version of his pieces) DeLange Sofiane Pamart Dmitry Evgrafov

[UPDATED - OCT. 2026] The following post was a formal submission for the 2026 Summer Competition: From Nothing, to Something. Below includes a detailed and extensive explanation of the work, both in inspiration and construction. If you wish to skip, the score PDF and Audio will be found at the end. Thanks for viewing this work! [TAKEN FROM SCORE] Plus belle encor votre chère beauté  - Your dear beauty lovelier still Duration: c. 6:08 Written in 2026, Plus belle encor votre chère beauté is a work for piano quartet that evokes summer and the experience of love. It was composed for the “2026 Summer Competition” hosted by The Young Composers Music Forum and is inspired by Paul Verlaine’s poem “Donc, ce sera par un clair jour d’été,” whose opening line may be translated as: “So, on a bright summer day it shall be.” The poem is number nineteen in Verlaine’s collection La Bonne Chanson (The Good Song) Find the French text and translation to the poem here The title of this work is drawn directly from the French text and has similar inspiration as the Gabriel Fauré song from his op. 61 bearing the same name as the Verlaine poem. However, this work takes the title from the fourth line of text, and unlike Fauré, this work is late-romantic in style. The musical inspiration came from two places: Tchaikovsky and his Nutcracker ballet, and a spell of improvisation at the piano. This work was created in late July and early August 2026, and during that time, I was experimenting with modal improvisation, and felt drawn to G-lydian. Specifically, the iv 7 chord you can build and find in Tchaikovsky’s music. However, I did not set the piece into the lydian mode, only hinting at C# to use for predominant and secondary function. It was also around this time I was listening to parts of the Nutcracker, where I felt drawn to the idea of harp-writing, and thus, during a period of improvisation, the foundation of this work came to be. With structure, Plus belle encor votre chère beauté is in ternary (A-B-A’) form and includes an intro and coda. The B-section acts as our development while the outer A-sections are comprised of a smaller AABA form. The principal theme stated in the A-section occurs throughout the work, where it can be heard in the introduction, coda and within the development where the piano states the principal theme in inversion. Lastly, I composed this work following the end of a relationship. In short, this work evokes those unspoken emotions I harbored and the romance I long to have one day. A day where I too can say “Your dear beauty.” (The art on the cover page is Claude Monet's "Woman with a Parasol." A wonderful piece of art!) Comments are welcome, both constructive or positive! If you enjoyed this work, leave a react, and follow my page so you don't miss any new works in the future. It's free and you can always remove it later. Thanks and see you all soon! AUDIO_YourDearBeauty.mp3 SCORE_YourDearBeauty.pdf

Your comment couldn't make me any more pleasure! Thank you for listening so attentively! So, I think you have very well understood the program of this fantasy. A dreamlike world, more or less lucid, more or less controlled, that can tip over at any time at the border of the nightmare. This is indeed what happens at the beginning of the second part. Is it intuitive on your part when you evoke the laughter of the devil (bassons, bass clarinet and contrebasson), but it is not for nothing that I called this cauldron "the bearer of light" (Lucifer in Latin...) (I thought the allusion would remain discreet, but your sagacity highlighted my little esoteric incartade, which was for me a "clin d'oeil", I also have fun with some concealments that amuse me a lot...). The "choral" part of all-classic harmonization is suddenly broken by this whistle that throws a kind of sarcastic fanfare in rhythmic superposition (the 2 of the military march superimposed on the 3 of the choral). I thought of a noisy parade scene, interrupting the almost dormant meditation of the faithful, like a merging. For the next part, introduced by a few soli, it is a piano meditation, slightly punctuated by the strings in harmonics, sul ponticello, mixed with a flottando, effectively combined with vibra, glock, celesta, harp and tubular bells in the distance (a slight tam too). Indeed, the very end (last note) of last movment may be a little long to make it heard. It is in fact after the solo of low flute and flute of a tenuto note to the violins 2 that goes al niente except the viola solo that ends alone. The compression of Youtube is not ideal to hear this detail perhaps. In any case, your attentive word orders me to continue! I'm going to run out of time, but I'm currently on a new attempt and I'm scratching my fly legs as soon as possible... (As you can check on the attached photos! I'm working on it... It will be for orchestra and the solo clarinet will have a major role).