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Fantasia i g minor. Fantasia for organ in the key of g minor. Multiple subjects and fugesubjects. Ps: The piece has not been editet yet, so there are som mistenkes. Both intentional and unintentional 🙂 Please tell me what you think SimenN

Wow, this is impressive! Though I've come to expect that from you. 😉 Definitely my favorite parts are the moments with the 1st 'fugue' theme, I really love the intensity and polyphonic effect those sections create for me, especially the opening. In fact, this is probably one of the first successful uses of this fugal-opening effect I've heard so far, as I notice a lot of them tend to be overly sarcastic and ironic, or just boring, as far as my personal taste goes. You made it straightforward, flowing and instantly appealing! Also, I don't really have a least favorite part, as I've enjoyed the piece the whole way through! There were some little parts in the waltz section I was mildly bothered by, but nothing significant; just some tiny details in the bass line and countermelody, but it's fine as it is, unless you would like me to elaborate. Otherwise, I enjoyed basically everything. I think it's very effective, I really enjoyed the structure! There are a couple of pieces I was reminded of, the 2nd movement of Rachmaninoff's Symphony no. 1 and the 3rd movement of Hans Rott's Symphony in E major. These are both the "Scherzo" movements of the symphonies, as can be expected. Both are brilliantly orchestrated, and quite underrated, especially Rott's symphony. I'll link the pieces here: Another high-quality orchestral work from you! I wish more 20th-century symphonic scherzo music sounded like this.

Thank you for listening, Paper Composer. I think the ending I just rushed through, and I might delete this posting until I have finishes the ending so as to show the public when it is actually finished. Thanks for giving me your thoughts here, and for letting me know you like it. This will probably be the final movement of the suite, as I am getting a little bored of the minimalism theme/ensemble.

I do have to say that this piece keeps me coming back and listening to it more and more so I think you've definitely succeeded at making it catchy! Upon further listening it sounds to me like many places in it resemble a musical and at 6:54 I hear a theme from the original Mary Poppins sneak in there (it sounds like the intro and end coda of "Chim Chim Cheree" to me). Mary Poppins - Chim Chim Cher-ee

You're exactly right and this has been bugging me the entire time. It's a shame this happens right at the beginning, as it puts a bad taste in your mouth right out of the gate. I do have a few ideas of how I might fix it though: Adjust the blending with the "close" mics Adjust some of the velocities - some of the different velocity layers might be more clear Layer with VSL basses - I think these have a little more clarity, but I'm not 100% sure Double with cello at an octave above - (not sure I like this one, I think it might interfere with the violas, but worth a shot) Your comment makes me want to give this a second look. I'll look at it over the next couple of days and see if I can come up with a solution. You are correct, I think it would be a good idea to specify just to be safe. I will update the score. Thanks, I will check these out.

Difficult to pin point exactly where because the score is difficult to follow at the pace of the work (having to scroll up and down to see what's going on). But one place the articulation and harmony seemed blurred at letter R. For that matter, the articulations of the bassi entry in bar 9 sound blurry but I fail to see what you can do about that with the reverb as it is. Point is that it contrasts with, eg, the articulations at B which are utterly clear . Round about 8'10", W, the harmony is more chromatic and does blur. However, rather than create inconsistencies it's probably best to leave things as they are. The consistency and excitement carry it through. The orchestral balance is remarkable suggesting you've had plenty of live instrumentation experience or studied a good few scores. It shows in the handling of tutti with full brass,e.g. at AA, or the lead up in bar 590. Superb altogether. PS, just the smallest point. I notice that at AA you reduce the horns to a single stave. I've presumed this is still the 4 horns, 1,3 unison on the upper part, 2,4 on the lower, justified by how they expand to 2 staves at 679 the same unisons in that bar. Edit: Meyerbeer. I was thinking of his grand opera Il Crociato in Egitto or possibly l'Africaine rather than Hugenots. A composer who helped Wagner on the way up (getting Rienzi performed) but whom Wagner hated because of his success in Paris. Meyerbeer's ordinary orchestral works have never really hooked me.

AND FOR NO REASON, THE SHEET MUSIC.