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As the title states, this is an organ transcription of the Rex Tremendae Movement of my Requiem. Not sure if this is exactly playable, any organists out there? The original movement on which this is based can be found among the other finished movements here: https://www.youngcomposers.com/t34257/requiem-in-e-minor-completed-movements/?tab=comments#comment-1186669016

Hello everybody! This is my first topic in the forum - I've commented on a number of pieces but not yet shared anything of my own, so here we are. I wrote this concerto for piano and string orchestra last month - I don't play a string instrument, so I'd appreciate any feedback on the string writing! The concerto is in five short movements; the first is in A minor, the second in A major, the third also in A major (and following straight on from the second), the fourth in D minor, and the last in A minor. I've reused a few motifs throughout the work to keep it feeling 'tight'; the opening theme of the concerto comes back in the final passage, creating a cyclical feel; and the final movement in general incorporates aspects of the other movements. I'd be hard placed to name any particular influence, other than a neoclassical feel to some passages. Overall, I'm fairly pleased with it, so I thought it could be my first posting 🙂 I hope you have fun with the work!

I think the title of your piece is very appropriate to the nostalgic and bittersweet music that you present here. The harmony is not very often doing the expected thing ... only at the end of your first 12 measure phrase is there any kind of traditional cadence/resolution (on a strong beat) that I can detect. Although I count bar 2 as the first bar of the piece with an anacrusis. The piece is on the whole a little brighter than would be expected but I suspect that that is because only in poverty does one really get a sense of how simple happiness can be. Thanks for sharing!

This is really cool! You use alot of unique modes that give your melodies a very exotic flavor, and I really like your harmonies as well - you use alot of chromatic mediants and shifting by tritone to keep things fresh. I listened to the piece all the way through, but spent quite a bit of time on the first movement. A few comments below. These are all subjective of course, feel free to ignore if they are not to your liking. Throughout the first twenty bars or so you have the pizzicato low strings adding this cool "bouncy" vibe underneath the piano melody. However, this disappears when the celli and basses take over the melody at m. 21. I think it might sound kind of cool if the piano took up this role in the lower register? For example, maybe after the cello and bass play the melodic line in m. 21, have the piano play in m.22 an upbeat octave A1-A2 on beat 4 and downbeat ocatve D1-D2 on m.23 in the lower register to answer them? Then carry on this idea throughout this section? You might have to rework some of the technique you already have written for the piano in these bars to accommodate this, but I think it might sound cool. Is there any reason in m.21 you have the cello and bass slurring on the eight notes? (see below) Every where else throughout this section they are staccato, and the piano is staccato throughout the proceeding section. I think it would sound more consistent if the styles matched. I noticed in m. 75 you have a minor 9th in the piano (well a minor 16th I guess...) which I think might clash a bit, I'm not sure is this was intentional? At m. 94 I think it might sound cool if the piano was staccato to match the strings. This would bring out the contrast with the proceeding legato section a bit more. I think there might be a typo at m.144, you have the cello on an F# but the bass an octave lower on an F natural? Your string writing seems fine to me. I'm not a string player myself, but it all looks reasonable. Like I said these are all just my opinion. I really enjoyed the piece, it is a fun listen. If I get a chance I'll try to dive a little deeper into some of the other movements. Thanks for sharing!