maaton

hmm I don't really see where this piece is going. Its very much like raving to me... I don't know. I'm a cellist myself so maybe I should give it a try, but frankly I can't find any strong statement in this melody...

Absolutely love it!!!!

performing live will definitely do justice to this piece. The timpani part is extremely hard to play, lots of pedaling, I hope they will manage to do it. Anyway, the piece is very lively, though not the most original thing I have ever heard, but it is quite decent. Maybe adding some arpeggios to the vibraphone would make the piece more vivid and fresher, but that's just an idea. Good luck having it performed!

people should view the wall/ceiling or the inner of their eyelids while listening to music... that is very sad that most of the people here are unable to criticise music without seeing the score or midi. What about your ears, folks? Can't you HEAR what's going on? I presume this must mean people can only understand a poem if they read it and have difficulties when someone performs it ...Nonsense. Is it so, that an inversion of this and that chord could be the key to anything? I doubt it... I tell you what: people simply can't say a word about a piece of music which is not composed in a certain style because where there are no rules or regulations there are no so called 'flaws' to seek. This is a plague among classical composers and should be cured... Anyway, This piece I find really smooth and enjoyable. Very airy, very lush recording as well, it is very very comfortable. I didn't find the Bach evocation that convenient but apart from that the piece is very well balanced in voices and articulation. It ends a bit rapidly comparing to its rather slow introduction, the strings could show more of themselves maybe. The harmonies, the choice of instruments and basically the whole mood and character is 100% for me. Congrats and keep it up!

First of all : a little less attitude would be preferable. Also, in my opinion, a composer should not try to explain what the composition is about in this amount of detail cause it most likely turns out false. Unfortunately I didn't manage to discover any 'obstacles' or emotional journey, let alone night turning into day. (I can hardly associate the fact ,that the last third turns out to be major key whereas the previous parts were in minor key, with a night to day change.) I don't really sense these things you mentioned. What I do sense though is that you truly don't care much about the two instruments. I didn't find any understanding of the the instruments' character, their interaction is poor both harmonically and structurally. Also the bass plays an octave below than you suggested in the score therefore a cello would be out of range. I regret to say that, but this piece is absolutely uninteresting and easily forgettable due to its dull melodical and rythmical structure. ps: You will face difficulties finding somebody who wants you to compose for him/her cos its already a composer's forum. And nothing is more arrogant to state which comments will and which comments won't be subject of consideration. It's none of our business really...

very nice piece, the performance, however , is horrible...

Ok,This must be a JOKE! Nobody has an ego like that for a one minute and an other 33 seconds long piece of music that have little to do with baroque nor Bach. Not to mention they are both absolutely mediocre. They have an unmistakably middle eastern/ balcanian sound anyway. I believe Baroquefan is a phantom who spreads his sarcasm all over the fault-finder, narrow minded people here, so called "experts of baroque composition". In this case , I applaud to Baroquefan, because this is a very subtle and clever way to provoke that kind of reaction but at the same time I don't really understand the point in it. I mean it's funny to compose a piece that has nothing to do with baroque than brag about it, compare yourself to bach and wait for the others to start putting effort to prove why you are wrong... It is an interesting kind of sarcasm which, in this case, i can even relate to, but I don't think people will bother that much to tell you off. People have better things to do, I guess. However, If I'm wrong and you are truly a serious person, then: What the f*ck is wrong with you, man??? :)

interestingly i can spot several elements in this piece resembling traditional japanese folk music. basicly the whole chord progression you use is pretty much japanese apart from the ending. very unusal use of the guitar indeed, it has a very floaty feeling that i really appreciate although i miss some sort of emotional foundation to it. the whole thing is a bit rapid for a meditative piece. no beginning and a sudden 'out of character' ending. maybe you could consider adding a few more chapters to it, its a really great approach , it would be a pity leaving it last only 2 minutes... i would love to hear more! definitely thumbs up for this one!

allright i was exaggerating. all i wanted to say that it exceeds the OFFICIAL flute range. i'm a cellist and i can squeak up to high violin range but i wouldn't compose anything there....

Composing supposed to be an urge to belch out your deepest emotional or intellectual content. Structure is only a tool to deliver. There IS such sing as overstudying music theory. Someone, who needs to compose in certain styles and apply rules (that were more or less invented by musicologist afterwards) to then be able to 'take it further' and 'break the rules' is a 'dead on arrival' composer. Why on earth would somebody want to compose baroque style music is a mistery. Nothing to study there anymore. There isn't a single segment of this world that baroque could represent in any way. It's just simply not true anymore. In this case, it's nothing more than a lie. For a composer it's just a shield, a protection from being self expressive or personal. Cliche beyond everything. No drawing only colouring. It works the other way round as well. Someone who only can think in total atonality or dissonance is nothing more than a charlatan. Both philosophies are outdated and in fact dead-ends. We must invent the music of our own age and stop miming the past. It's ridiculous...

The flute range is from middle C up three octaves. no matter how hard one blows it, it won't make that D6.

it rather sounds renaissance or late gothic than medieval if you don't count the congas,bongos and shakers of course. what can I say? I don't really see the point composing renaissance music in 2008. I think the approximately 200 original composers of that era bring more than enough to the table, don't you think? why a fake if we have the real thing? we should invent the music of our age and stop miming ages extinct long ago...

i really enjoyed this piece though I'm not very big fan of composing in a specific style because it usually ends up miming something that has already been well documented. However, here I sense something of your own perspective that in the end makes me want to like this piece. The midi is horrible, here is a sampled one to get a better idea: zSHARE - string quartet april 2008.mp3

ok then, maybe i'm judging too hard because sax is one if the few instruments i don't like at all.

one more thing: you exceed flute range at one point with a D6. the highest note that the flute can play is C6 !!!