OpusPosthumous

This piece certainly takes me on a journey... though I'm not sure where. The stylistic aspects change every section, which was a little confusing. I'm just not sure that all the movement are really tied together by any one elements besides key. Speaking of key... you must keep in mind when writing for string players that any key signature beyond 4 flats/sharps is really tough. We do not have frets/buttons to push down and the hand positions for F# Major are just terrible. It is also not a key that "rings" with string instruments (there are no C, G, D, A, or E naturals, all of which ring with our open strings). Of course any good violinist should be able to play it... just something to keep in mind from a technical point of view. I do enjoy each movement individually, like maybe if they were pieces on their own that would work a little better. I especially like the last movement. Hope this is helpful!

Be not afraid of the alto clef! You will probably need to know how to write in it at some point anyway. I like the ideas you have going on and I largely agree with what is written above me. During the first half I don't get a great sense of chordal change, which I think might be partly from the chord progression (I, ii6/5, iii6) which is a regression essentially. Maybe you could try sticking to stronger progressions like moving down by thirds/fifths... but again, it's all in your creative license. Some composers (including myself sometimes) focused more exclusively on timbre than on chord progressions; Bartok and Stravinsky being good examples. I personally think timbre speaks much louder than chord progressions if done correctly... but I think you at least need a few more dominant/tonic movement in there at some points. I do understand the random pizz at the end, but something like that is much more effective after maybe a forte section followed by a rest, not to mention that quick transition is difficult for the performers. Otherwise it sounds pretty neat. Hope this was helpful!

Thanks for the words of welcome! I went back and did some editing of the score... nothing to drastic as to preserve whatever was going through my head at the time. I made a few changes to make my intentions more clear. The second movement I was implying a spiccato stroke, which has been marked. The slurred notes in 44-45 were just something a little different, and I have changed those to make a little more stylistic sense. I believe my original intention with the sextuplets was just a sense of urgency; a sense of moving forward into the big fortissimo at the end of the piece, but I now see that this sense of movement was offset by regular 16th notes a couple bars later. The pizz. at the end was primarily for the nice tone that the lowest three open string make when plucked together, and I always wanted to utilize that sound, but I suppose it was a bit random. It seems that they sound just as nice when bowed and let ring. The penultimate measure makes more sense to end on the actual chord as opposed to harmonics, so I changed that, but left the last measure as a harmonic, just to serve as a nice timbre for the end pf the piece. Will post a recording soon... thanks again!

I would love to hear this performed. It looks pretty solid! Just to forewarn you regarding the fifths in the viola: the way they are written (with the grace note, and without a possibility of doing them on a first finger) those are reeeeeeally hard to play in tune. Just because of the angle of the finger against the fingerboard.... otherwise there's things in that score that I use all the time. Good work, can't wait to hear it!

Personally I like this piece. I played through it a little bit and I think you made your intention clear... I take pride myself in trying to champion the more "taboo" intervals sometimes. The only thing I would have to say is that those octave jumps in measures 36-38 between the Bb's will be a real stretch for the hand. Also, in the first treble clef section, all the D's on the bottom would best be played as open, which means all the notes on top would have to be played in position on the A string, which towards the end could get... uncomfortable, but not impossible. I also think as a general rule, no one should every compose a piece based off of how the midi sounds. You should know how it will sound in real performance so don't let midi every stop your intentions. Nice work.

Carpe Noctem, Op. 17. "Seize the night". Carpe Noctem

Suite for Solo Viola, Op. 6. An early composition where I attempt to showcase the dark timbre of the viola in the most musical way possible. Suite No. 1 for Solo Viola

Elegy for Piano Quintet, Op. 8. Written after the death of a close loved one. Begins with a slow movement, followed by an allegro, then two more movements in the same fashion (unfinished). Elegy for Piano Quintet

Valse de Tourbillon (Maelstrom Waltz), Op.13, for solo piano. Begins with a slow section (calm before the storm). Progresses into a presto section (the maelstrom), slows before the end (eye of the storm) and ends on a big Bb cadence (end of the storm). Valse de Tourbillon

Fantasie No. 1 in Gb Major, for solo piano Fantasie No. 1