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Hello @Grant Weep , thank you very much for this generous feedback! Oh, no, unfortunately this is no live performance and I am not playing either. The applause – I know that is somewhat embarrassing – is included for technical reasons only: I needed some „sound“ or „noise“ at the end of the video for the „outro“, i.e. when presenting the final slides and Youtube-cards. One the other hand, I had sometimes a problem that the video was stopped before the final chord if there were no such „trailing noise“. In some other of my videos I have chosen other „outro sounds“ which are perhaps more appropriate, such as the song of the nightingale or steps walking through autumn leaves or a street scene with an accordion etc. Haha, that’s interesting and funny! Since I’m not familiar with Pokémon games (or video games at all), this reminiscence must be completely unintentional. To be honest, I think I stuck very closely to my inspiration—namely, the fugato from Prelude BWV 852a—but if it’s not that obvious, that’s totally fine with me. And yes, I also particularly like the passage around 01:38, since that’s the section that really really brings some emotions of joy and summer – while the rest of the piece is much more melancholic. Thank you very much. I find this last paragraph particularly interesting. We’ve already had an interesting discussion here in the forum on the topic of “personal style”, and this kind of “personal voice” can only be perceived and evaluated by the listeners, not by the composer himself. And if you, on the one hand, find the harmonies somewhat “weird” or “unusual,” and on the other hand recognize them as rooted in traditional harmonic theory, I consider that a great compliment. I initially based my first steps in composition on the model of Bach’s contrapuntal works, but now, after some time, I greatly appreciate that my works are not (longer) considered as exercises in imitating Bach’s fugues, but rather reveal influences from other, more contemporary composers, without coming across as completely “atonal” or “destructive”. My compositional approach—that is, my method of working—remains contrapuntal and therefore very “head-heavy“, which may explain the “muted” emotional level (or, perhaps, it is a matter of my (German) nationality?).