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Vince, I cry while reading your reply. It is so touching and you give me what I lack: confidence. I am not confident and always self-critical. I seldom value what I do and always aim higher. That can be good but it does give too much pressure to myself. You know sometimes it's difficult. Before joining this forum everyone around me do not appreciate my music and playing. I freakingly want to compose, but sometimes lack of encouragement does hinder my progress, as I lack the motivation to compose. I reflect now and find this the main reason of composing the quintet in 6 years. I always say I am lucky to join this forum. It's always great to see talented composers around the world and learn from them. You say I am adamant on sharing my thoughts to others, actually I learn from them each time I review the pieces. Maybe due to the mutual encouragement, I am able to write that wind quintet piece in 9 days. I will definitely post that here in the near future, since I am busying with my piano practicing these few weeks. I can say the same thing to you, except changing piano to guitar (and singing probably)! I always admire your confidence and your ability to encourage others. During these few months' stay I see how many times you are willing to encourage others here. That's thing I treasure you most, not even your great composition. Without you I won't even think of composing that wind quintet piece and joining the call for score, which was a great experience for me. Music-wise I was practicing to develop one motive throughout the piece, and this movement probably inspired by Haydn's monothematic sonata movement as well! You are right the contrast is not great though. Thanks so much for your encouragement, and your appreciation on my works and playing. I am speechless to show how thankful I am. P.S. If you want me to record your piano piece, just tell me and I will play it for free! Just give me practicing time will be fine. Henry

A little slightly more contemporary piece for solo flute that I have been working on for a while. In the first movement, I make use of a ‘filtering’ technique to develop the material; I began the piece by writing out a progression of modes, a few notes altered by a few semitones each time, which I work through to gradually modulate (with some exceptions!). I went for senza misura for this movement as I was looking for a more contemplative and tranquil tone, hence the title 'Penseroso', and to give performers as much space and creative opportunity as possible, which I something I always strive for. I contrast this with the virtuosic and frantic nature of the second movement ‘Scherzando’. I began by planning a sequence time signatures to be repeated, in such a pattern that an audience would be oblivious, to convey this freneticism. I develop this sequence; I designed an exchange in length within the piece of the high, loud, staccato sections and low, softer legato sections, in which the staccato sections gradually grow shorter as the legato sections grow longer, until roughly halfway, when the staccato sections lengthen again, and the legato sections shorten (I hope I worded that clearly enough!). I am particularly pleased with the sudden shock ending of this movement, designed in contrast to the soft a niente’ of the first movement. I managed to persuade a flautist friend to record this for me, and they have done an excellent job. I hope you enjoy the sounds of a real instrument, unlike last time! Any feedback and suggestions much appreciated.

This piece was premiere recently in XXX Panorama da música brasileira atual by Quinteto experimental de sopros da UFRJ.

Hello @Samuel_vangogh, First of all thank you for leaving a comment, I appreciate both positive qualifiers and constructive criticism! Indeed, I agree with you that it is a bit confusing. Although I have to admit that this was my first intention, I am attracted to ambiguous writing (for example, the first two notes of the triplet in bar 10 can be practically interpreted as two eighth notes in binary subdivision). Still, if it's too confusing for the interpreter I'll try to change it. Anyway, that's just a sketch, when I finish the other poem, I'll reupload both of them together in one whole video. Claudio

Wow the score is much clearer now! I appreciate your effort. I think you have found great solution to the zither like passage of piano. I find the F sharp minor section clearer now! As a pianist I would like to see two staffs for piano though even if one hand is spared😅. Just habit I guess. I love your expansion on Section D. Now the piece for me is like beautiful portraits of the beautiful orientic scenes with snowflakes and sakura. Really lovely music and I enjoy it very much, especially that F sharp minor passage. You know if the broken chords of the piano is put in other pieces, I will probably want to have it developed or enriched or something like that, but I find it perfect here. The atmosphere is so "right" here. Great job! Thanks for sharing your progress and I greatly appreciate that, Alex. Henry

I enjoy the flute solo. Your flautist friend does an excellent job for you! A midi won't have the effect displayed here. The con moto non troppo rubato section in the first movement is really funny for me, and I enjoy the overall contemplative movement. I love the Scherzando even more. I think both movements are idiomatic to flute and show the timbre of it, in different ways. Here it definitely shows how naive and childish a flute can be! I find the ending not shockinh but very satisfying to a scherzando movement! Thanks for sharing! I enjoy your work and please share more! Henry

Your Feedback is really helpful, I changed the title of the D minor piece for now to 'D minor prelude', so thanks for that. I had many problems with this newest upload and didn‘t know, weather I should publish it in this quality, since the resolution and so on are really poor. In the end these variations, which I've written some of in ¾ and 4/4 were good composition exercises. I've read somewhere, that there isn't a clear distinction between Passacaglias and Chaconnes but Chaconnes were supposedly more often in a major key. So since the Passacaglia by Halvorsen has also a 4/4 time signature, I just let the title for what it is... Greetings, Wilhelm

Have expanded this piece now with new material starting at 3'28". I've extended Section D to create more of a contrast with the rest of the work, and added a lot more bassoon to Section E. Also improved the score; though the new material isn't included yet. Hopefully it's moving in the right direction?

I always get writers block if I sit at a keyboard and try to mash something out; sometimes something might come, but it’s never my best work. If i’m trying to think of a structural, harmonic, melodic, etc. solution to something I’m writing, I have to take some time staring at the ceiling or out the window, and ‘write’ the music in my head. Ideas away from a keyboard or notation software are always my best! However, I find manuscript paper very helpful in forcing you to plan and think about every note; this always helps my attention to detail, which suffers if I write straight into notation software.

Gorgeous piece! It's so impressionistic and juicy for the ears! Really a unique and awesome piece!

Vey nice! It started like a piece of Schumann ( almost like one of his Davidbündler oieces), but the it went a bit in another direction. Well done!