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Hi all, It's been a while since I posted anything at YC. I had hoped by now that I'd have something live to share, but the pandemic has greatly curtailed performing activities here. I'm generally reluctant to post digital versions of my compositions and am willing to wait a long time for a live recording. But this piece has now been sitting in my drawer for eight years, and with no realistic prospect of having it performed any time soon, I don't think there's a point in holding off any longer. I prefer German 19th-century music styles, generally leaning to the conservative side of the War or the Romantics. I also believe we are at our best when we write the sort of music we want to hear ourselves, and so that is what you can expect of this work. It's in four movements, following the typical sonata form plan. The provided audio includes repeats of the expositions for the first and final movements. I have mixed feelings about this convention and often don't repeat my expositions, but when I listen to the movements without the repeated exposition, I personally find the pacing is negatively affected. That said, if you hate repeated expositions, start movement 1 at 3:20 and movement 4 at 1:55. Forms: mvt 1; Sonata-Allegro mvt 2: Rondo (ABABA) mvt 3: Scherzo and Trio mtv 4: Sonata-Allegro As most of you know, I am not comfortable sharing my scores online. I apologize to those who would like to see it. Hope you enjoy!

Wow Jorge, I really enjoyed that, impressing. Simple and catchy motif with beautiful counterpoint. I love the staccatto in forte and how you alternate motif phases with modulating progressions, nice construction. As a minor critic I miss the main theme (4 opening measures) played by the bassoon. Have you tryed that? Bassoon has a more bass role, while flutes imitate each other. Thats not bad at all, but sinces you have a fugue-like opening with the imitation to the dominant I expected a bassoon reply on the tonic later on. I feel the last cadence a bit weak. Maybe opening the register would help to give a stronger closing feeling (bassoon to the lower G, first flute one octave higher to avoid direct unison and maybe the second flute going to B instead of G to play the 3th of the chord), also a stretto or a deceptive cadence followed by a pause near the end could help. Those are just details...but overall amazing job 😉 I hope it helps! Saludos

It makes a lot of sense if you think about it. In classical days, singers read off single sheet voice parts. The tenors just had the tenor part, no indication of what anyone else was doing, the basses just had the bass part, and likely all the basses were looking over each other's shoulders at a single copy by the light of one flickering candle... Think of how difficult it is to sight read if all you have is your part, without being able to relate it to the rest of what's going on. If you play the violin, you put your finger in the right place on the right string and you reliably get a certain note, but if you are a singer, you have to pluck your note out of thin air. It's really hard to do accurately without being able to see the complete structure of the harmony you are a part of unless you happen to have perfect pitch, which is a rare gift. Modern sheet music always gives singers all the choral parts together plus a reduction of any instrumental parts. We're in the age of modern printing. It's cheap and easy to do. Classical period's solution to save time laboriously copying notes onto handwritten sheets was to have the brass double the singers so they couldn't get lost, and to strictly enforce voice leading rules so that parts tended to move by predictable stepwise motion as much as possible, rather than by leaps, which people are more likely to misjudge. It was sheer self-preservation on the point of composers. The alternative was a train wreck every time you premiered a new piece. It's not like singers could go out and listen to a recording of the thing before they tried to sing it either.