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I’m excited to share with you what is, quite possibly, the most ambitious and elaborate work I’ve composed so far. As the title suggests, it’s an orchestral piece based on Bach’s Little Fugue in G minor (BWV 578). As an organist, this piece has had a profound impact on me throughout my years of study and has always been a reference point—both in terms of performance and musical analysis. Let me briefly explain a few key aspects of the work: - The first instrument to present the theme is the oboe. This was not a random choice: I wanted to pay tribute to Stokowski’s orchestral version of the fugue, in which the oboe also introduces the main theme. - The second section (bar 16) opens with the chord progression from the end of Bach’s fugue, making the connection even more evident if it wasn’t already. This part showcases a reharmonized version of the main theme, which remains ever-present throughout. Some passages directly quote Bach’s fugue, such as bars 39 to 44, where I’ve preserved the original texture of three or four voices. - The third section (bar 70) brings a strong contrast. After a short bridge that shifts to the major key, I introduce a kind of string quartet based on the opening notes of the original fugue. I like to think of it as a chorale harmonization in the spirit of Bach (though not in his actual style), which eventually leads to a climax in bar 95, where the fugue theme reappears in the major key, accompanied by multiple counter-melodies. - No piece based on Bach would be complete without at least a small reference to a fugue—so I decided to end the work with one. The subject of this final fugue is “original” (in quotation marks because it is inspired by something, but I’ll leave the source as a mystery for now—you’re welcome to try and figure it out!). - From bar 126 onwards, the beginning of Bach’s original fugue returns briefly within my own, setting up a kind of “battle” between the two fugue subjects. In the end, Bach’s fugue emerges victorious, and the piece culminates similarly to Stokowski’s version, with the fugue theme resounding in the low brass and trumpets. The only real change I’ve made is in the final three bars, which conceal (though not very subtly) a musical signature of someone—which again, I’ll leave for you to guess. I truly hope you enjoy listening to the piece as much as I enjoyed composing it. This time, I’d especially love to hear your thoughts and feedback, as I’ve been given the opportunity to premiere it with an orchestra I belong to. I want to make sure everything is perfect—musically, but also in terms of notation and the overall score—before bringing it to the stage. Many thanks for the opportunity!

Hi all, I wanted to share my latest composition, hoping for some feedback! Enjoy the listening 🙂! Julien PS: Scores and midi files are available here: https://imslp.org/wiki/Tableau_No.5_(Piaser%2C_Julien) tableau 5.mid

Hello Everyone! I'm Emile, I'm 18 years old and I'm from a little island called Aruba in the Caribbean. I'm really passionate about Music, I'm a Classical/Romantic Composer/Pianist and started to compose when I was 12 and started with the piano at 14(able to play late Beethoven sonatas). And I've started to try my best to be known out there currently working on a piano concerto in f minor, string quartets and I'm looking forward to meeting all of you and getting involved in the great things happening here on this forun. This is the 12 variations on a theme in C major. But this is the 11th Variation! this is my first Toccata and First Fugue! this toccata took me several weeks and i was inspired by the intro of his Choral Fantasy when i first listened to it! and i decided to dedicate this to Beethoven because I finish the piece a day before his birthday. Dedicated to (Departed) Ludwig van Beethoven, Birthday of the Year 2023 P.S - The 3 voice fugue is not in strict form it's a wander/sonata form 12 Variations and Nocturne for Viola and Piano on a theme in C Major.mid

Hello, everyone. It's been a while since I last posted anything, and I finally have a new piece for you all to listen to: the Fantasia in F-sharp minor. I consider this piece to be my most ambitious work for piano, and also my most personal work. It is also my now-longest composition, lasting roughly 32 minutes in length. The Fantasia is in 3 movements: Movement 1. - Ballade: Moderato serioso (F-sharp minor) Movement 2. - Barcarolle: Andante (F-sharp major) Movement 3. - Finale - Tempest: Moderato - Allegro appassionato - Maestoso (F-sharp minor-major) Here are my performances of the movements on Youtube: I hope you all enjoy. 🙂 Theo

Composition completed on 10/13/2019 You also can watch this piece here -

Bellini is my favorite opera composer of the romanticism. His melodies are unique. Doppo l'scuro nembo is aromanza of his first opera Adelson e Salvini (a work for his graduation or something like that). Of course, the original is sublime. But this is my little homage. 11 Fantasia en Fa menor doppo - Flow 1.mp3

I composed a short piano piece. Roberto Zini - Fantasia Delicata I hope you like it

Here is piece for alto saxophone and piano that I wrote to play with my sister. Any feedback would be appreciated!