Luis Hernández

Fantastic. You took the exercise to the extreme without compromise. Everything is vertical structures. But the sound is very consistent throughout and captures the interest. By the way, that book by Persichetti is wonderful.

It's good to see how others organise themselves. The idea of working on the sketch in three staves or more, depending on the volume, is great. Perhaps in a future project I will try to do the sketch for solo piano, as the intention is not so much to imagine orchestral colours as to establish the structure, parts, climax, harmony and rhythm.

Context: composition of an orchestral work or, at least, a chamber piece. Do you first use a sketch for solo piano? What advantages would this have? With the whole range of software and virtual instruments available, the temptation (and reality) of composing directly for the orchestra is very strong. As an amateur composer who makes music purely for intellectual pleasure and for the senses, and also because I am partly self-taught and partly formally trained, I confess that the small pieces I have written have been without a piano sketch. By piano sketch, I do not mean, in this case, a reduction for piano that is idiomatic for the instrument, even virtuosic. I mean a sketch that captures the basics: structure, harmony, melody, rhythms, accents. I consider my training in classical and modern harmony to be very good. In counterpoint, quite good. But lately I have become interested in orchestration and, in turn, trying to structure a work of a certain length (without going overboard for the moment). And in this sense, I think that the piano sketch can be very useful and not a waste of time. In relation to this, I am also doing the opposite: orchestrating fragments or small pieces for solo piano. What do you think?

Thank you for organizing this event. It has been wonderful to listen to such a variety of proposals.

It sounds very good, very musical and coherent.

Hello, I think it's a beautiful, thoughtful piece with careful harmonies. What I'm unsure about are the long notes in some places, but I'm no expert.

I also find it to be a very imaginative piece that maintains a great deal of expressive coherence in terms of motifs and developments.

From my point of view, it's not about whether it's executable or not. It surely is. It's about the fact that in this style, in this particular piece as it is designed, this speed doesn't sound natural. In addition, to my ears, part of the enjoyment of the music is lost. It's like singing The Beatles' Yesterday at lightning speed. Well, as I said, it's a matter of taste.

Quite well, except for the speed. I don't understand why there is such a fondness for music at this unnatural speed. Of course, the virtual instrument does whatever you want it to do.

Sounds good. Although there seems to be some clash (0:22) or conflict here and there. Perhaps it will be clearer with the score.

Thank you all for listening. The fact that some notes have stems and others do not is to differentiate, within the tintinnabuli technique, between the two types of voices: the melodic voice and the tintinnabuli (or supporting) voices. The truth is that this technique can be taken to very complex levels. I really like it and studied Pärt in some depth.

It sounds good, and it’s in keeping with the title. I think some aspects still need refinement or closer attention. For instance, there are moments where six French horns have been written (in chords). Or that part at the end, around measures 35-36... in fortissimo, the harp won't be heard at all.

It is a very enjoyable and coherent concerto. Discussing its style is complicated, even if we use it as a point of reference. For me, it evokes certain Baroque memories, but that is due to the solo instrument: the trumpet, given that there are hardly any concertos for it in the Classical period (aside from Haydn and Hummel) and even fewer in the Romantic era. I find the first movement to be more in line with a Classical approach, while the Adagio feels more Romantic. In any case, it is a great piece of work in terms of composition, orchestration, and editing.

Tintinnabuli is Árvo Párt.

Thank you, I'm glad you like it. To be honest, I have no idea how Suno works. But in that case, the basis of this piece, which is the tintinnabuli, would be broken.