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Hi @bkho First of all, I find the structure of this piece really interesting. I think part of that is the way the episodes are so distinct from the main chaconne theme. Chaconne(s): I do like the harmonic structure, sounds very Baroque and is a solid foundation for the piece. I would comment that the keyboard writing is at times a little awkward, such as the 1st variation at bar 9 where the right hand has tricky movements of hand positions. Are you a pianist/organist yourself? If so, you'll be able to modify it quite easily. Also, the variation with the acciccature: perhaps they could be written out as triplet semiquavers? To me, they have more melodic value than how they are notates, although this could be a question on individual interpretation. Fugato: I'm no fugue writer or counterpoint expert, so take everything I say here with a (very large) pinch of salt! The opening of the subject is very striking and makes the other entries clear, however towards the end I feel it sort of loses its way. I think it's the almost repeat of bar 19 and 20 that throws the phrase of slightly, but maybe marking in some phrase lines would sort it out in the performers head for them to make the subject clear. Bar 24: The first F could also be a series of quavers [F-E-F-G-trill] to make the modulation smoother. The countersubject is a lovely melody. Maybe it doesn't work as well on its own with the subject, but when the third voice appears it makes sense. From bar 51-53, I think the triplet quaver/semiquaver motif could get higher quicker, as this would make the lead in to the 'Maestoso' more natural. Lyrical Section Bar 70: I looked at the score before listening to it, and was going to suggest that you changed tone here to a flute stop... but you've done that! I would also maybe suggest a different tone for the left hand as this would help separate the voices a little - a reed or a string? I noticed the use of the triplet motif from the end of the fugue here too - great linking of themes! My main comment/criticism for this section is that it's rather long compared too the rest of the chaconne. It picks up nicely at the Poco Animato, but perhaps then strays a little to far into gentle territory - it makes the return of the C minor theme a little jarring. I like the material though, and wouldn't want to cut any of it out! Maybe 135-149 sort of region? Coda: I really enjoyed this section. It reminds me a little of the fugue to the E Minor harpsichord toccata, mixed with the first movement of the 5th partita. Bar 191 to the end feels a little hurried, it sounds like there has been a modulation to the subdominant and then ends. Staying in C major a little longer would probably help this. I love the closing two bars though. Overall, a really great piece! Well done on finishing and polishing something of this length, and thank you very much for uploading it! aMC

Indeed - works like that sonata and the Dante Sonata, Petroc Sonnets etc. are really great pieces. I do get the feeling that some of the more flashy pieces were composed... in a rush? They don't seem to have the same depth. Also, there is the general opinion in the piano community that the Transcendental and Paganini études are the be-all and end-all of piano music - when this then overshadows the scores of other great, difficult works for piano. A lot of Rach's music is quite dense and heavy, which works well on the piano but isn't so effective in the orchestra. I do love his (popular) second symphony but other works such as the Symphonic Dances and Isle of the Dead I feel are missing the character of his solo piano music. As a pianist though, I still love him!