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That's very special! Definitely gives the "Silent" vibe... and eerie touch, haha. You've just made a different Christmas for me. I wonder if further experimentation can be done for this particular piece, like recording it at a tunnel/metro, or the lo-fi effect? Anyways, Merry Christmas!

It's very nice.. Don't be worried about how long it takes to complete. I've discovered many artists who spend a LOT OF TIME on a song. The Beachboy's 'Good Vibrations' took something like 7 months, and $150,000 in studio time. Unheard of in the 1960's. The Beatles would often re-record a song many many times in different styles, keys, tempos to discover what was best. One of their hits, they used the 100th take of the basic rhythm tracks.. Prince would often continually re-record the basic parts of his songs. He'd get the rhythm tracks down, record a new bass part, which then needed a new piano part, then a new guitar. Often going several rounds till the ending piece, didn't sound much like the first version.. I spend a lot of time using the same technique. As I redo the parts, I fill in the holes, or improve and refine the parts. And I realize I had to go thru that process to find the 'essence' of what I was trying to say the first time. It's wonderful when one can brag, this was the first take.. and yes that happens some times. The real magic is in the work itself. Keep up the good work

Very intriguing and exciting. I could see it being used in a film score. It's a little different than the version of 'Silent Night' they play on our local oldies station 😉, but I liked it a lot. Really nice to hear a live recording, too. Thanks

Lots of counterpoint and a picardy third to boot! Anyways, I like the material. I think you could really work with this and expand it. For starters, I'd take away the chorale barrier -or look at some of the chorales of Bach to get an idea on how it's done. In terms of playability, this reminds me a bit of some of the contrapuntally rich chorales from Beethoven's late string quartets. Given your language here, these would be good primers for you. Not only do this display a mastery for writing dense contrapuntal lines for String Quartet -but they will also show you how to work with material richly for strings. Keep up the good work!

Hey there, thanks for posting! First off, thanks for making it in d-minor instead of c#-minor. I can guarantee you that string players much prefer it this way. Personally, I found some of the harmonic shifts (like in measures 11-12) to be a bit off-putting. That is a subjective opinion, though. What I can say with a bit more certainty is that something you can strive for is to make sure that each player's part is interesting for them to play. As a cellist myself, I can tell you that few things are more annoying or bothersome to play than a part that doesn't seem to go anywhere or do anything. Without a real sense of direction and fulfillment, I think you run the risk of having a piece that is unpleasant to play. That's not to say that some pieces can't be hard for the players, but the point I'm making is that you want to make sure you're considering what it will be like for the musicians to play through this piece and whether or not it would be a good experience for them. I think you're doing a fine job here, and perhaps someone with more knowledge than I have of discussing harmony will be able to leave a review in regards to more specific suggestions or comments. In the meantime, keep up the good work!

It sounds good. I love the sound of the harpsichord. I don't care very much about parallels and that, if it sounds nice to me.... I love the final part when te lower voice takes the G# in m. 22.Nice change to prepare the end.