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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/ -
This is my "Three Sententiae for String Quartet, Op. 376". The first sententia is subtitled "A Reflection on Beethoven's Op. 131 String Quartet's Opening Fugue", a piece that I consider the greatest string quartet ever composed, perhaps even the greatest music ever composed. The subtitle comes from the fact that I was wondering about that composition's first movement and thinking that it is a piece that is so great that it deserves musical reflections by other composers being done on it, when this "reflection" occurred to me. This set of sententiae is my 9th set of sententiae composed for string quartet, and my 66th set of sententiae overall (albeit two of those "sets" comprise only one sententia). The third sententia, at over a minute long, is unusually long and stretches the usual boundaries of a sententia. I have provided a description of the sententia, a form I have created, in the title page of the score. I reproduce it below: The 'sententia' is a musical form I originated in 2013. The word 'sententia' (plural: ‎‎'sententiae') is the Latin for the word 'sentence'. The Oxford dictionary defines 'sententia' ‎as "A pithy or memorable saying, a maxim, an aphorism, an epigram; a thought, a ‎reflection."For me a 'sententia' is a musical utterance of a thought that is complete in ‎itself, like a sentence. It is also an utterance that finds no need for any elaboration or ‎development. Hence my sententiae are short pieces that come in sets and are often related ‎to each other in some way. Just like between the movements of a multi-movement piece, ‎I would expect that performers observe a short pause between one sententia and the next. ‎And I would expect that there be no clapping from audiences between sententiae.‎ Here is the link of the previous set of sententiae for string quartet that I have posted on YC (it is the one before my Three Sententiae for String Quartet Op. 346" that isn't posted here): https://www.youngcomposers.com/t36832/two-sententiae-for-string-quartet-op-311/ Edit: I found I had later posted another set of sententiae for string quartet, my Op. 321. Here is the link: https://www.youngcomposers.com/t37957/two-sententiae-for-string-quartet-op-321/
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This is my "Three Sententiae for Violin, Op. 351". It is my 5th set of sententiae for violin. I have provided the description of "sententia" (a form that I have originated in 2013) on the title page of the score. Here is the link to my previous set of sententiae for violin:
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This is my "Three Sententiae for Piccolo & Tuba, Op. 344", my entry for the YC's The Tortoise & The Hare' composing competition. Here is the description that I provided with the score for my submission: "In these "Three Sententiae for Piccolo and Tuba, Op. 344", I depict the hare with the piccolo and the tortoise with the tuba. The three sententiae do not strive to particularly depict events in the fable of the "Tortoise and the Hare", opting rather to leave interpretation to the imagination of the audience. However, I have sought to highlight the hare's carelessness by the piccolo's rather carefree part and the tortoise's methodicalness by the regularity of the tuba's part. Also, in the final sententia, I have sought to highlight the dramatic ending." To the above, I might add that for me the highest note played by the tuba, the first 'C' in the final bar of the third sententia, signifies the tortoise's definitive winning step, with the hare's final flourish coming after it and extending beyond the final note of the tuba thus signifying that it was not quite enough to win the race.
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These is my "Two Sententia for Flute Op. 342". It is my first set of sententiae for the flute. I have composed 9 soliloques for the flute, but until now no set of sententiae. The sententia is described on the title page. I reproduce my description of it below for your convenience: "The 'sententia' is a musical form I originated in 2013. The word 'sententia' (plural: 'sententiae') is the Latin for the word 'sentence'. The Oxford dictionary defines 'sententia' as "A pithy or memorable saying, a maxim, an aphorism, an epigram; a thought, a reflection." For me a 'sententia' is a musical utterance of a thought that is complete in itself, like a sentence. It is also an utterance that finds no need for any elaboration or development. Hence my sententiae are short pieces that come in sets and are often related to each other in some way. Just like between the movements of a multi-movement piece, I would expect that performers observe a short pause between one sententia and the next. And I would expect that there be no clapping from audiences."
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This is my "Three Sententiae for Violoncello, Op. 341". It is my second set of sententiae for violoncello. It took me many months to conceive and develop the three sententiae and to shape each to my artistic satisfaction. I hope that you will enjoy them.
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This is my "Four Sententiae for Piano, Op. 340". For the record, it constitutes my 11th set of sententiae for piano. Here is the link to my 9th set of sententiae for piano, the last set that I have posted here, a set of two sententiae: https://www.youngcomposers.com/t37076/two-sententiae-for-piano-op-315/
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This is my "Three Sententiae for String Trio Op. 325". It is my 2nd set of sententiae for the ensemble of string trio. Here is the link to my previous set of sententiae for string trio:
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This is my "Five Sententiae for Viola Op. 324". It is my entry for the YC Fall 2019, "Poor Form" competition. As I have explained in the title page of the score, at least the 5th movement is much longer than the usual length of my sententiae due to the requirement of combining the previous 4 movements' styles/developments/processes.
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This is my "Three Sententiae for Two Pianos, Op. 323". It is my first work for the combination of two pianos. I never would have imagined I would compose for that particular combination. However, the idea to compose a set of sententiae came to me almost six months ago, on the day I attended the concert of a piano duet. And so I have realized it now, six months later.
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These are my "Two Sententiae for String Quartet Op. 321". Here is the link of my previous set of sententiae for string quartet, again a set of two sententiae: https://www.youngcomposers.com/t36832/two-sententiae-for-string-quartet-op-311/ In the line of reposting some of my older pieces, I had also posted another set of sententiae for string quartet. Here's the link for that: https://www.youngcomposers.com/t36851/three-sententiae-for-string-quartet-op-139-old-deleted-piece-2181/
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This is my "Two Sententiae for Piano, Op. 315". It is one of those sets of sententiae that are composed of only two sententiae. Sometimes a third or further sententiae are simply not within my inspiration. And I believe that those twin-sententiae-sets are perhaps the more powerful, pure, and "precious" for their "rarity" or scarcity. Here is the link to my previous set of sententiae for piano, posted on August 8, 2018: https://www.youngcomposers.com/t36881/three-sententiae-for-piano-op-312/
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These are my "Three Piano Sententiae Op. 312". They are my 8th set of sententiae for piano. Here is the link to the previous set: https://www.youngcomposers.com/t34332/three-sententiae-for-piano-op-284/
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This is the second installment of my pieces that were previously published here on Young Composers forum but got deleted during the renovation of the website in late April - early May 2016 and that I am choosing to publish again. As the pieces number 181, I am being cautious at to what I publish this second time. Concerning this set of sententiae, what distinguishes them is that they are the first set of sententiae I ever composed. Therein lies their importance. I think that of the six sets of sententiae for string quartet that I have composed, this is still the best set. Here's how I introduced the pieces back on April 10, 2013 when I first posted theme here: 'Sententia' (plural: 'sententiae') is the Latin for the word 'sentence'. I am naming these pieces 'sentences' since they are pieces that do not manifest any trace of development, nor do they aim to do so. All they do is utter a statement, a sentence - which the Oxford dictionary defines as "A series of words complete in itself as the expression of a thought ... conveying a statement, question, exclamation, or command." a definition which perfectly applies to these pieces. I chose the Latin word 'sententia' to name them because its meaning is broader than its English translation of 'sentence', defined as it is as "meaning, sentence, maxim, epigram" - the other three definitions also applying to some degree to the kind of piece that I have in mind, a piece that is more substantial than a simple, straightforward (and often inconsequential) sentence. Of these three sententiae, my favourite is the second one, which is also the one that I think the most completely embodies my idea of a 'sententia' (the first one still somewhat utilizing the formulas of my soliloquies and bagatelles with its repeat and clear ending, while the third one shows a hint of development). I am posting them as a group since I believe that sententiae, being short and devoid of any development, are best presented in a group. Yet each sententia is complete in itself and in the musical idea/feeling/thought that it seeks to convey. Here's the link to the first old deleted piece that I shared: https://www.youngcomposers.com/t36633/three-fugatos-for-harpsichord-op-222-old-deleted-piece-1181/
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This is my 6th set of sententiae* for string quartet. I had posted the previous ones here, but they were deleted during the renovation of the website in May 2016. Maybe I will post one or more of the previous four sets sometime in the future. *The 'sententia' is a musical form I originated in 2013. The word 'sententia' (plural: 'sententiae') is the Latin for the word 'sentence'. The Oxford dictionary defines 'sententia' as "A pithy or memorable saying, a maxim, an aphorism, an epigram; a thought, a reflection." For me a 'sententia' is a musical utterance of a thought that is complete in itself, like a sentence. It is also an utterance that finds no need for any elaboration or development. Hence my sententiae are short pieces that come in sets and are often related to each other in some way. Just like between the movements of a multi-movement piece, I would expect that performers observe a short pause between one sententia and the next. And I would expect that there be no clapping from audiences.
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These are my "Two Sententiae for String Orchestra, Op. 309". It is rarely that I compose for orchestra. The last composition, a "Concertino for Classical Guitar and String Orchestra", was composed back in late 2015. I had shared it here almost two years ago. Here is its link: https://www.youngcomposers.com/t33864/concertino-for-classical-guitar-and-string-orchestra/
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These are my "Three Sententiae for Violin, Op. 308". I have included a title page with an explanation of the sententiae, a form that I have originated in 2013. Here is the link to my previous set of sententiae for violin: https://www.youngcomposers.com/t36182/three-sententiae-for-violin-op-300/
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These are my Three Sententiae for Bass Clarinet, Op. 301. They are my first set of sententiae for the Bass Clarinet. Previously I have composed two soliloquies for Bass Clarinet. Here are their links: http://www.youngcomposers.com/t34704/soliloquy-for-bass-clarinet-no-1/ http://www.youngcomposers.com/t34896/soliloquy-for-bass-clarinet-no-2/
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These are my "Three Sententiae for String Octet, Op. 299". They are my first composition ever for the string octet ensemble. I think I have rather succeeded in composing music fit for the particular characteristics of the string octet ensemble. I would be interested to hear your reviews.
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This is my first ever composition for the duo of Alto Saxophone and (French) Horn in F. I had composed a soliloquy for Alto Saxophone around 3.5 years ago. I had also composed a solo for Horn in F more than 5 years ago. These "Three Sententiae for Saxophone and Horn, Op. 289" are composed in response to a call for pieces for this ensemble. I found the combination a rather challenging one to compose for. I include a title page as well as a description of the 'sententia' for those who are unfamiliar with it. The score is the transposing score, the actual pitches sounding a major sixth lower than written for the alto saxophone and a perfect fifth lower than written for the French Horn in F.
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These are my "Three Sententiae for Trumpet and Piano, Op. 296". They are my first pieces ever written for the duo of trumpet and piano. I sent them to a professional trumpeter who had made a call for pieces for trumpet and piano, but I never heard from them! Obviously they didn't like it and in all rudeness couldn't even acknowledge receipt of the pieces! It's their loss and your gain! I post it here for your enjoyment and feedback which I will appreciate.
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This is my second composition for alto recorder, a set of three sententiae. I am submitting it as my second entry to Christian Perrotta's challenge for solo alto recorder pieces: http://www.youngcomposers.com/t34429/solo-alto-recorder-challenge/#comment-1186669797 Here is the link to my first alto recorder piece: http://www.youngcomposers.com/t34434/soliloquy-for-alto-recorder-no-1/