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This is a piece for Wind Nonet after the poem Le Dormeur du Val by Arthur Rimbaud. It's split into 4 parts that align with the 4 verses of the poem. Le Dormeur du Val Arthur Rimbaud A small green valley where a slow stream flows And leaves long strands of silver on the bright Grass; from the mountaintop stream the Sun's Rays; they fill the hollow full of light. A soldier, very young, lies open-mouthed, A pillow made of fern beneath his head, Asleep; stretched in the heavy undergrowth, Pale in his warm, green, sun-soaked bed. His feet among the flowers, he sleeps. His smile Is like an infant's - gentle, without guile. Ah, Nature, keep him warm; he may catch cold. The humming insects don't disturb his rest; He sleeps in sunlight, one hand on his breast; At peace. In his side there are two red holes.

I wrote this as a lullaby for myself to help me with my insomnia. This is the first minimalistic piece I have ever written. Also I am a novice at playing the piano. Hence, I wrote this as an easy beginner piece so that I can learn at my own pace. Anyways it's really simplistic. Any constructive feedback is welcome

Thanks for the kind feedback 😄

Beautifully simple. Very Erik Satie-esque. I think you definitely fulfilled your goal of writing an "easy beginner piece"! I hope it helps with your insomnia! I personally drink peppermint tea when I have insomnia LoL. If you know you're just not going to fall asleep you can always try to do something you never do, like write poetry or a short story or something. Very enjoyable piece! And the modulations were welcome and not jarring. The transitions were odd but interesting. Thanks for sharing!

Yes, I'm a violinist and I compose for myself often. My piano skills are basically nonexistent so it doesn't matter. I've taken just enough piano to have a grasp of piano technique and compose idiomatically for the instrument, but I can't actually play it well. Usually, no. Even when deliberately trying to write virtuoso works for the violin, I have a good enough grasp of what should work in my head that I rarely need to fix things later. The realizations I hear of most of my compositions initially come straight out of Finale's playback. Finale has always had very nice built-in playback so I am usually satisfied. Usually, yes, it's acceptable as a mockup. But it is always great to hear my pieces played by real musicians, especially by more people than just myself and an accompanist. I've had the chance to have two pieces programmed by an actual orchestra in concerts, and a third read through in rehearsal, though not performed. I've also had a couple of arrangements commissioned and programmed as well, though the effect isn't quite the same.

Well, hats off to you for having the determination to complete a full 4 movement work, and the courage to post it here for comment and feedback. It’s too bad that the first commenter felt free to snipe at your effort without even listening to it; that’s not typically a way to earn respect for one’s opinions. I did listen to your entire symphony. That said, I’m not going to listen a second time. It’s clearly a beginner’s effort and a learning exercise. My advice would be to call it done (I agree with your decision not to make changes), set it aside, and begin to work with smaller forms to develop your skills. Here are some things I’d suggest you work on: 1. How to craft a melodic line. With a couple of exceptions, your melodies are just little patterns that don’t go anywhere. If your intent is to write in the classical-romantic tradition, you need to figure out what makes a melody and what makes a developable theme. 2. Types of polyphony other than melody-and-accompaniment. The vast majority of your symphony consists of little melodic-like-patterns against a block-chord accompaniment. This just gets tiresome. 3. How to develop a musical idea. A symphonic movement is long because it takes that long for the material to be developed and for the composer to say what needs to be said. Your symphony has, to my ear, about 8 minutes of content stretched out to 47 minutes by repetition. Repetition is NOT development. 4. An awareness of what real instruments, played by real humans, can and can’t do. Your second movement scherzo has some potential, but your tuba player has died of hypoxia before it’s half done. The rest of your brass section expires in the finale. You don’t gain credibility by being that conspicuously unaware. I don’t want to pile on any more or be discouraging. I also once tried to write a symphony, long before I knew what I was doing. I finished the opening movement and a little bit of a scherzo. The experience taught me that I had a lot to learn about symphonies, but that it was learnable. It’s possible that I know what I’m doing now, but I actually don’t think I’ll ever write one, mainly because the expectations of audiences have changed so much.

Sinfonia in A minor "in profondità" Sinfonia "in profondita (into the deep)". Two movement sinfonia for baroque orchestra. Experimental fuge form. Fugal texutres broken up by chorale textures. Please tell me what you think