luderart

Hello Demertzis, I listened so far to three of your piano pieces. I was impressed, especially by this one. I have to say that you have a rich fund of creativity and are an undiscovered genius of piano music!! Bravo. I hope that you notate your music and give it to actual performers so that the world will hear your great music interpreted by the great pianists that it deserves!!!

Thanks for your review Daniel. Regarding the previous soliloquies for organ, I had posted them all but they were from before 2016 (actually 2013 and earlier) and so they belong to the list of posted compositions that got deleted once the new version of the website was introduced sometime in late April - early May 2016. To be sure I had reposted some of my 181 posted pieces with the tag "Old Pieces". So I might repost some of my soliloquies for organ No. 1- 6, hopefully soon.

Thanks for pointing it out. I changed it in the score and uploaded the revised score.

This is my Soliloquy for Organ No. 8. Like my Soliloquies for Organ No.s 2-7 and my two sets of sententiae for organ, it is composed for organ manuals only. Here is the link to my "Soliloquy for Organ No. 7": https://www.youngcomposers.com/t47956/soliloquy-for-organ-no-7/

Thanks for pointing out the fact that I have exceeded the lower range of the organ’s manuals. I had been confused with the “Scientific Pitch Notation” (SPN)’s consideration of middle C as C4 while for organs the same note middle C is considered C3. Thus I have assumed I could go down to C1 in SPN but it is C1 for organs which is 1 octave above, i.e. like SPN’s C2. I revised the piece to keep within the lower range of C2.

This is my Soliloquy for Organ No. 7. Like my soliloquies for organ No.s 2-6 and my two sets of sententiae for organ, it is composed for manuals only. Edit on 2/9/2025, 8:00PM GMT: After realizing I had some notes out of range thanks to a review, I revised the piece to keep in range and replaced the score and the mp3 with the revised version.

Thank you Henry for your review and observations. Indeed a compound meter in the time signature of the 1st sententia would have been a good alternative time signature. I will keep that in mind in future works.

This is my "Three Sententiae for String Orchestra, Op. 354", an opus the composition of which extended over almost two years. It is my 56th opus consisting of sententiae, out of 70 opuses so far (as of July 1, 2025) (68 sets and 2 solitary, for a total of 225 individual sententiae). The composition of this set having started almost two years ago, I have since composed 14 more sets of sententiae! It is my fourth set of sententiae for string orchestra. I hope that you enjoy it. Here is the link to my previous set of sententiae for string orchestra: https://www.youngcomposers.com/t36499/two-sententiae-for-string-orchestra-op-309/

Thank you NickReh for your review, your appreciation of the piece and your suggestions of alternatives. I appreciate it.

This is my "Soliloquy for Viola No. 8, subtitled "Threnody for the Victims of the Israeli Genocides of Gaza (7/10/2023-) and Lebanon (23/9/2024-)". As many of you know, the soliloquy is one of my favourite forms. For me a soliloquy is a short, reflective, often calm and sometimes sad composition. At the time of its composition this was my 181st soliloquy. It is unique in being a "Threnody for the Victims of the Israeli Genocides of Gaza (7/10/2023-) and Lebanon (23/9/2024-)", genocides that have continued (albeit at a lower intensity) despite "ceasefires" (if you can call the cessation of genocide a "ceasefire) in effect from November 27, 2024 (for Lebanon) and from January 15, 2025 (for Gaza), genocides mercilessly targeting and killing thousands of men, women, and children, whole families, health workers, and journalists (the latest figures of the number of victims estimate more than 6,000 for Lebanon and 48,453 for Gaza*), and destroying thousands of buildings, churches, mosques, schools, universities, and hospitals. As a Lebanese experiencing one of these genocides, this piece constitutes my musical sorrow and outrage at the injustice and suffering its victims experienced and continue to experience. *These figures are from the time of this writing, on March 9, 2025. For sources, see the following: https://x.com/ObserveLebanon/status/1896041783877914893 https://sharjah24.ae/en/Articles/2025/03/09/ZX66 Here's the link to my previous soliloquy for viola: https://www.youngcomposers.com/t36334/soliloquy-for-viola-no-7/

I enjoyed the fourth one the most. Would love to hear how they would sound interpreted by a real violinist! Looking at the score, I am not sure whether the triple stops in the fifth Estampe would be possible to execute on a violin. When you say "meant to be performed by a real player", I think that that's what every composer intends their composition for or aims and hopes for their pieces - to be performed by actual performers! Only, it is not possible in many cases; whether because the performance of new music is risky or because it demands a "labor of love" from the performer to recognize the merits of the piece and serve it with their time and their artistic skill to learn and perform and interpret it, or because of some other reason. That's why we have to rely on the software rendition to have an approximation of how it would sound like played by a real player. If you have found a performer who intends to perform it, that is great!

I searched for other soundfonts. I think this one, called "harmonica basic" (by TheSoundfontMaker) is much less like an accordion and more like a harmonica. Listen to it and let me know.

Hello Luis, Thanks for standing with the truth and understanding and recognizing the injustice and crimes that we have for the past 72 days been subjected to. Regarding the software sound, indeed it might be sounding more like an accordion. However, I tried two options and the other one sounded even more like an accordion. This is Musescore's "Musescore_General.sf3" soundfont. If you are aware of another soundfont that can be used with Musescore that sounds better, let me know!

This is my first soliloquy for chromatic harmonica. It is intended for performance with a chromatic harmonica with the alternative "classical tuning". It is among my compositions which I have composed during the Israeli genocidal offensive on Lebanon in which they have so far targeted and killed 3,645 people (including 692 women, 231 children, 226 health workers and patients, and at least 6 journalists) and injured 15,356 people (as of November 23, 2024) as well as destroyed much of Lebanon, and flattened or damaged thousands of buildings. So that is the background and setting in which I have been composing my latest compositions. However much one tries to keep such events out of one's musical mind and inspiration while composing and to go on composing pure music as though nothing had happened, such events are bound to influence one when the most powerful and most evil destructive force existing on earth, a power unflinchingly bent on the destruction of people, cultures, and civilizations besides its own, has (in the wake of its so far 414-day-old genocide of Gaza and its people) singled out my country to destroy it and its people, destroying thousands of lives and livelihoods, homes, memories, dreams. The question arises, what does music have to do with crimes and events like these? I believe music after all, despite being an art, has a moral purpose. Its composers live in the world and are influenced by the settings and events in their countries. And so composers and music cannot stand completely uninfluenced by the crimes going on around them. And as a composer I believe I have a moral duty to highlight the crimes going on around me, or at least in some way to draw attention to them, to rage against them, to condemn them; if not through my music directly, then through my words!

Thank you Luis for your valuable review and comments. It is great and gratifying to hear your opinion that I have created "a sound world of [my] own" in the format of the sententia. Regarding your review of the piece, I agree that the 2nd and the 3rd sententiae have perhaps better succeeded at achieving their intention. And indeed perhaps the pizzicato of the first sententia's second violin does not fully succeed in achieving the intended effect, at least in the software rendition. It is always gratifying to hear feedback on one's pieces and I will take note of it in future compositions.