Summer – A Song of Beauty and Melancholy – Submission to the YCF 2026 Summer Competition

Dear fellow composers, I’m pleased to present you today my submission to the YCF 2026 Summer Competition!

I must admit, that the task of the competition was really challenging, starting from „Nothing“ and than get the right ideas for „Something“ that is reminiscent to the mood of the summer day as expressed by Paul Verlaine’s poem.

The challenge.

When a composer has trouble coming up with a brilliant idea for a new piece, it sometimes takes several attempts, each of which yields different individual ideas.

And there are some pieces that consist of several ideas that have been “glued” together, ultimately resulting in something like a “collage song.” I’m thinking, for example, of “A Day in the Life” by the Beatles or “Band on the Run” by Paul McCartney and Wings.

However, there also exists such a kind of piece in Bach’s Welltempered Clavier, the Prelude VII in E-flat major, BWV 852. That particular prelude starts with a short section with runs of 32th notes, followed by a „more serious“ part in slow motion, that reminds me at a „chorale“. The third and longest part is a fugato with two subjects that further develops the ideas from the first two sections.

So with this particular Bach prelude in mind, I had thus found the model for my own prelude, which serves as the „sketch“ for the quintet finally presented here as my submission. I always start to compose the pieces for piano in order to – on the one hand, have another piece for my preludes and fugues project, and on the other hand, because I find it to hard to mix the two phases of „composing“ and „orchestrating“ together.

So I have posted the piano version as a standalone piece "Prelude XXI in B flat major" on the „Piano Music, Solo Keyboard“ thread.

The poem.

When I came around to the second part, the “Chorale” section, I faced the challenge of treating the upper voice of this four-part harmony as the melody for a musical setting of the poem.

Since I don’t speak a word of French and have no idea how the syllables are rhythmicized, I looked at Gabriel Fauré’s setting of the poem in his Op. 61, No. 7 to find out which words are pronounced or sung briefly and which are longer. As an interesting fact, I discovered that Fauré had actually chosen the same key, B-flat major, that I had chosen before.

The instrumentation.

Now that the decision had been made to set the poem to music, I wondered how I could orchestrate it so that it would sound like a French “chanson.” My first thought was to choose the accordion as the main accompanying instrument. And since I wasn’t sure, I Googled: “What are the typical accompanying instruments for a French chanson?”—and sure enough, “accordion,” “guitar,” and “piano” came up.

In addition to these, and to take advantage of the possibility of a quintet, I use a trumpet and a cello. Both of these instruments are capable of contributing different timbres (the cello either played with a bow or pizzicato, and the trumpet either muted or unmuted), and during the poem stanzas, I always use the muted trumpet as a substitute for the human voice.

The title.

Another challenge. A title in French would be appropriate, but I do not really trust translation programs in such delicate situations, since I don’t understand the nuances of the possible result. Thus, I’ve chosen the simple title „Summer – A Song of Beauty and Melancholy“. The latter since the piece features more passages in minor than in major and, therefore, does not only express the joy and beauty of the summer day, but is somewhat melancholic, too.

Form and structure:

00:00 (mm. 1-14)

The first section is an „improvisation“ which introduces the warm key of B-flat major.

00:34 (mm. 15-29)

The second Adagio section could be a „chorale“ and is used to set the first stanza of the poem to music.

01:31 (mm. 30-90)

The third and longest section is a fugato based on two subjects, interspersed by further stanzas of the poem (second stanza 02:18 at mm. 48-63 and third stanza 03:37 at mm. 75-90).

The first subject quotes the first four-note motif of the „improvisation“ section and develops it further, paired with the second subject, thus creating a joyful and dance-like mood.

04:22 (mm. 91-114)

The piece finishes with a coda – or better to say – with a recapitulation of the „improvisation“ from the first section. Now in a more melancholic way, meandering between minor and major.

I hope, you’ll enjoy it. Wieland

Finally, as a kind of „non-AI proof“ I also attached my „working score“ from which the MIDI is generated. It is nearly unreadable and of cause not intended for playing but shows in detail all dynamics, articulations, agogics etc. I applied to achieve the final recording.

Praeludium-XXI-B-flat-major-accordion-with-coversheet.pdf WORKING-SCORE-P21.pdf

awesome. I’ll do this in two parts my initial thoughts and then I’ll revisit the score and I’ll try to find things to pick out and to justify some rankings which could be positive as well so don’t get scared.

Anyways, I kinda like the idea of this kind of acting like a sandwich with the bread, acting like this nocturne sort of like hymn sort of statement. and then a more wild, more tonically free section. I definitely appreciate the dissonance news here and the initial thought that I couldn’t even swap away was the frustration that you may have gone through, which may have caused this intentional dissonant harmony as a composer myself I also have gone through this sort of phenomenon so treated kind of as “key smashing”. I also appreciate the orchestration as well with the blending within the trumpet with its muted parts with the accordion, and also the blending within the guitar and cello making the sound simultaneously the same instrument. The one lick pic about the orchestration though is that I could barely really hear the cello on its own and pick it apart however, though this should be treated as a good thing, so you have your own justification for that.

I also liked how you did some of the program notes and your ideas with putting “lyrics” to the trumpet part and also achieving that singing voice quality with the instrument that’s not the voice the accordion was especially a nice touch as it’s going to buff your originality score in your orchestration score by tons anyways the only concern is the bow changes which should be achievable due to the low tempo, but just making sure that people will most likely start to miss notes and parts getting cut out around pages 6 to 10 in the cello part.

The supplemental techniques and fingerings provided are appreciated. I always enjoy that pedagogical style that you provide.

score -

average: 9.49

magnificent job here definitely going to be a memorable piece of this competition the only thing I would say though about why your orchestration score got a little bit off was just because of the bow changes, however, though they could possibly be possible. anyways, amazing job.

this production receives the “ fruit hunter award of excellence” !!!

Edited 23 hours ago23 hr by Fruit hunter

Entry: A Song of Beauty and Melancholy

Average Score:7.5

When I looked at the score at the distance, the first thing I noticed was that Piano and According parts are not separated but connected. It appears as if it one instrument and not two separate instruments. You have to disconnect the bars between piano and the according. Another issue I noticed is that is weird beaming patterns and stems positions. For instance, in the pick-up you have steams downwards, that is not correct. When they are connected like that, it should be up, since the majority of the notes are above the middle line. It looks just nicer that way. Another thing I noticed is you break beams a lot. This makes harder to read! You do this a lot in measures where the meter is 2/4. The only time beams are not connected is in vocal music. I see no vocal part. You have a lot of unnecessary dynamic markings. Hairpins are wonderful things. I would not use mezzo dymanics as much. Possibly changing from F to P is more effective vs F to MF. Also save those tripple markings for special moments.

However, this is highly creative. You have written wonderful textures using different instruments and timbres. I see no problem there. It was just overall engraving.

Total: 60/80

Hello @Kvothe!

Thank you very much for your instant review of my submission.

You have mentioned a number of concerns or suggestions with my engraving, which I now have thoroughly checked out, so that I can give some explanations for some of the decisions I made concerning them:

Piano and Accordion.

21 hours ago, Kvothe said:

When I looked at the score at the distance, the first thing I noticed was that Piano and According parts are not separated but connected. It appears as if it one instrument and not two separate instruments. You have to disconnect the bars between piano and the according.

When I came around with my unusual instrumentation, I asked myself how to organize the score, especially the ordering and grouping of the instruments. In a „normal“ piano quintet (i.e., for example, a piano and four strings) we would have the strings at the top (in their usual order), grouped together, and at the bottom the piano as a single instrument of the „piano group“.

But in my case, the piano is not the prominent or single accompanying instrument, thus I considered my ensemble as an „orchestra“ – while only consisting of five instruments. I Googled somewhat around how to organize such a kind of „orchestra“ (and interestingly, there were various responses, some of which contradicted each other).

So I finally decided to use the answer suggesting the following grouping/order:

1. Brass section – Consisting of the Trumpet only.

2. Plucked string section – Consisting of the Guitar only.

3. Percussion/keyboards section – Consisting of the Accordion and the Piano

4. String section – Consisting of the Cello only.

That kind of grouping/order finally leads to the impression, that the Trumpet, Guitar and Cello are „sole instruments“ (since each group consists of only one) and the only real section or „family“ are the Accordion and Piano together, so that they share the bar lines (as it is usually done for instrument families in an orchestral score). However, I must admit, it might look a bit weird at the first glance.

Stem direction.

21 hours ago, Kvothe said:

Another issue I noticed is that is weird beaming patterns and stems positions. For instance, in the pick-up you have steams downwards, that is not correct. When they are connected like that, it should be up, since the majority of the notes are above the middle line.

There are different rules applied determining the stem direction for different instruments/staves:

• For the homophonic or single-voiced instruments (that are the Trumpet, the Guitar and the Cello), I used „neutral stem direction“ where notes below the middle staff line have upward stems, and notes on or above the middle line have downward stems (which is exact the opposite of that you have supposed). I think, my Lilypond software did it correct, since I did not declare that there is a particular voice for that staves.

• For the treble and bass staves of the Piano part and the treble staff of the Accordion part, I used „voice stem direction“, since those parts are derived from the original piano composition which has a strict four-part voice leading. Thus, the „pickup“ you mentioned (e.g. the first four notes of the Piano) are in the alto voice which always has the stems down. I must admit that the four-part voice leading is not recognizable everywhere, since lots of the notes of the original piano composition have been removed, since they have been „handed over“ to the other instruments.

• The bass staff of the Accordion uses the „Stradella Bass“ system where notes below the center of the staff are bass notes and notes above the center of the staff indicate chord buttons (labeled with M, m, 7, or D (or d, or dim) to a signify major, minor, dominant seventh or diminished seventh).

21 hours ago, Kvothe said:

Another thing I noticed is you break beams a lot. This makes harder to read! You do this a lot in measures where the meter is 2/4. The only time beams are not connected is in vocal music. I see no vocal part.

Yes, you’re right. There are passages with „unbeamed“ eights and sixteenth notes, especially in the trumpet part for the reason that this is the vocal part where the poem is set to music (with the muted trumpet as a substitute for the human voice).

Other occasions of „unbeamed“ notes have been introduced intentionally, as the result of the texture of the second fugue subject and its counterpoint – whereas that is, admittedly, not easy to recognize in the orchestrated version.

Dynamic markings.

21 hours ago, Kvothe said:

You have a lot of unnecessary dynamic markings. Hairpins are wonderful things. I would not use mezzo dymanics as much. Possibly changing from F to P is more effective vs F to MF. Also save those tripple markings for special moments.

Perhaps, I somewhat exaggerated with the dynamic markings. But I’ve listened to many orchestation/scoring tutorials where hairpins without a starting and ending dynamic were considered as an error. Thus, all my hairpins lead from a distinct dynamic to another one. And, yes, „mezzo“ (either mp or even mf) isn’t always welcome.

Edited 4 minutes ago4 min by Wieland Handke

Hello @Fruit hunter !

23 hours ago, Fruit hunter said:

this production receives the “ fruit hunter award of excellence” !!!

I wish, I could press both buttons, „Thank you“ and „Ha, ha“, but since that is not possible, I did a simple „Like“.

And even though the “fruit hunter award of excellence” will not really appear in my collection of badges, I’ll collect it in my mind! Thank you, very much.

23 hours ago, Fruit hunter said:

I also appreciate the orchestration as well with the blending within the trumpet with its muted parts with the accordion, and also the blending within the guitar and cello making the sound simultaneously the same instrument. The one lick pic about the orchestration though is that I could barely really hear the cello on its own and pick it apart however, though this should be treated as a good thing, so you have your own justification for that.

It’s nice to hear, that you don’t find the use of the muted trumpet as „too annoying“. And yes, this time, I tried to blend the instruments together (as it is done in a full orchestra) as far as possible and not only to simple distribute the four-part voice leading of the original piano work to the instruments.

23 hours ago, Fruit hunter said:

the only concern is the bow changes which should be achievable due to the low tempo, but just making sure that people will most likely start to miss notes and parts getting cut out around pages 6 to 10 in the cello part.

Unfortunately, I have no practical experience how fast a cellist can change from bowing to pizzicato. I hope that it is possible in the relatively slow tempo. I remember discussions on that topic on even faster tempo, where finally came around that nowadays string players would be able to do so, even in relative fast tempo. And, by the way – ha, ha – I remember that you’ve earned similar concerns with your mallet changes in your „On Pastel Skies“ submission ...

23 hours ago, Fruit hunter said:

The supplemental techniques and fingerings provided are appreciated. I always enjoy that pedagogical style that you provide.

Yes, always after finishing one of my piano pieces, I try out the fingering (and test the playability). Perhaps my fingering instructions are somewhat exaggerated, but it is not as easy even in passages one might find simple at the first glance, so that I often struggle which fingering marks are redundant and obvious.

Another fun was for me to learn about the notation for the Accordion, applying registration hints and the notation for the bass.