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Thank you for listening and for your comments. Yes, the piano version is considerably faster. But when transferring it to an orchestra, or an ensemble like this one, if you don't reduce the tempo, it's difficult to appreciate what's happening. That's why, rather than a literal copy for orchestra, it's a reinterpretation. However, in some parts I had (and still have) doubts. More than because of the ranges and tessitura, but because of what each instrument can do, especially in the runs or fast passages. Best regards.

Since this is in essence a revised version of my earlier Enharmonic Perpetual Canon No. 3, whose single contrapuntal flaw replicated across all voices required a modification of an octave leap which ultimately ended up necessitating a transposition of the whole canon a perfect fourth higher, I decided to change the title of the entire series thus far to "Pantonal Perpetual Canons", as the previous title didn't quite serve as an accurate descriptor of the technicalities within the compositional process that gave rise to these pieces. Due to the necessary integral transposition of this work, however, the coda's newly resulting ending key (F-sharp/G-flat major), the only key along with its relative D-sharp/E-flat minor that displays an equal number of accidentals when enharmonized, far too many inconsistencies relating to the enharmonization of melodic intervals can be found in this version. Normally I would have managed to transcribe the melodic theme across all its internal transpositions in a way capable of satisfying apparent melodic continuity throughout the notation process, but due to the ambivalent quality of this key when it comes to enharmonization, not even the coda could be perfectly transcribed without far too many double accidentals. As such, as much as it irks me to see it like this, I have had no choice but to leave the currently notated version of this canon as is. The choral lyrics of this canon (once again, in Latin) translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As for the coda, its own lyrics further drive the meaning of these aphorisms to greater clarity and realization. YouTube video link:

I tried

Lovely ... so well crafted~! Mark

Hello @Fugax Contrapunctus! I really enjoyed listening to your revised canon, as it sounds very harmonious and has a constant flow that could perhaps go on forever, musically underscoring the lyrics. As reading your introduction, I see how much effort you’ve invested to make the piece what it ultimately is, and that you have dealt with the challenges to finally find a satisfactory enharmonic notation that is both harmonically correct and easy to read, so I have not gone into detail about your score. Surprisingly, although the rhythmic texture consists of only a few motifs that are repeated dozens, if not hundreds, of times as they move through the voices and instruments, it is not boring, but illuminates the theme from so many different angles until it reaches the coda, which initially introduces more tension and finally resolves. In this context, I am reminded of Bach's D major fugue from WTC2, BWV 874, which also repeats its short fugue subject extensively. Now for some thoughts that should be understood not as criticism but as questions I am asking myself: Your canons, especially this one, are magnificent examples of how contrapuntal imitation techniques can be brought to absolute perfection. However, I am not sure whether a cycle of, say, six or twelve such canons would be presentable in a live performance for an audience other than a highly educated one. For such a purpose, I could imagine that the canons should alternate with “less demanding” pieces, such as fugues, chorales, etc. (That could also be the reason why The Art of Fugue contains only two canons, as far as I remember ...)

Here is a (I think) better arrangement of the piece. There are no new parts but I was unsatisfied with the most recent arrangements.

Hello Luis Very Impressed by your Presentation, i presume this is a "Cover" of Mendelssohn. Which means if you can re-create such a Complex piece, then creating your own "Original Composition" will be No Problem at all. Regarding the Production quality, im amazed how Crystal-Clear the treble Range is, i hope to match that pristine sound hopefully one day. In the Meantime i shall be looking out for an Original-Composition from you soon, as i know you can do it, and do it really well.

Hello @Luis Hernández! Having just listened to your orchestration in comparison to the original piano work, I must say that the brass orchestration perfectly matches the character of the “Hunting Song.” The piano version is also beautiful, but it doesn't convey the image of a forest where hunters play before or after the hunt as strongly—perhaps this was also because the recording I heard was at a much faster tempo, which would have been uncomfortable for horns, trumpets, and trombones. In the semiquaver runs, the french horns sound somewhat to „soft“ what might not be the case in a live recording (while the trumpets retain their typical brass timbre), but despite such nitpicks concerning the realism of the software reproduction, the entire piece sounds well balanced and there is nothing „rattling“ (that’s what I call it whenever there is something that had to be improved according to the listening impression). A beautiful, authentic orchestration of a classical piece that captivates with its very own character!

Continuing with the Scale Materials Chapter in Persichetti's "20th Century Harmony" I wrote this Clarinet Quintet. The prompt was "8. Construct a solo clarinet line in the lydian mode supported by phrygian string quartet harmony. Set both the melody and harmony on the tonal center Bb." Thanks for listening and I hope you enjoy and let me know what you think!