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It sounds dissonant, but at least you don't leave the dissonance hanging. The opening of this reminds me of a piece by Mozart. That being: His Dissonance Quartet, so called because the introduction uses a lot of dissonant harmonies before it goes into the consonant Allegro which is definitely in C major.

Very nice! I enjoyed it. It is a light piece but never boring! I like the many variations of the initial theme utilizing different and rather unusual harmonics and modulations. But you always nicely combine, interspace or resolve them with classical harmonics. Altogether, this is an intriguing way to catch the attention of the listener.

You probably already know about the "harmonic series" and overtones so I won't dwell on it here. Monarcheon can probably explain this better than I anyway. But it's about overtones. If you play a fundamental of, say, C(3) on a piano, the following notes also sound: C(4), G(4), C(5), E(5) - etc. You don't hear them separately (unless you're listening out for them). They're what gives the piano and every other instrument its timbre (along with a few other parameters). Note that the fundamental produces a harmonic that turns up as the Major 3rd in a triad. C-E-G. In a minor key, the 3rd is flattened. So in C minor: C Eb G. Thus a discord occurs between the major 3rd in the instrument's natural sound and the minor 3rd. It also explains why some instruments rich in harmonics sound angrier in a minor key than others. Compare a trio of horns (as in Peter and the Wolf for instance with the three flutes in the last movement of The Planets, The flute's lower register is weak in harmonics, the horns strong so the clash is greater.

Short prelude I wrote on a theme I got while improvising. Written: July 31, 2019

What? You have to realize that major and minor modes don't really mean anything and that your reaction to them is learned. In the transition between the Medieval and the Baroque, Willaert and Zarlino codified the minor thirds as sweetness and grief and major modes with harshness and bitterness (Burkholder, 249). Obviously completely contrary to what most people think today, but all it takes is a few hundred years to change what the world thinks.

Hi @fililando, thanks for posting! I really enjoyed that. The lyrical character caught me from the first bar all the way throught the 14min. Nice score and life recording....Harmony remind me sometimes of Mahler.

Very impressive! Beautiful string writing all around. I have one minor critique: The first movement repeat (bar 18) to the beginning seems...disjointed. Bar 18 is a perfect setup for the next section, but its a little jarring when it repeats to the beginning. But overall, great job! The orchestra sounds marvelous as well!

I happen to be a neurologist who treats Alzheimer's patients so I found your background of this piece quite intriguing. Like Tonskald, the Danza movement was my favorite but this is a splendid work all around. There is great balance among the parts which would make it fun to play. The violas especially would welcome the interesting part writing.

Such rich harmonies and sonorities! I liked this a lot, but my favorite movement was the Danza. You're very good at writing (and scoring) for strings! I'm glad you were able to have this performed—it certainly deserved it.

Impressive! I like it a lot. In some parts it reminds me of Puccini (Crisantemi), also the writing of Richard Strauss. But this one speaks by itself.

It sounds very nice. I wish it had some rest, anywhere. At 1:30... when I thought the relative calm would come, it gains in speed, which is a good effect. But the tension is in the whole piece....