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an interesting shower thought piece that i came up with while sick with covid last june. this is the only piece i've done in this style, and it's definitely very different than anything else i've done before.

Hi great piece. Just some thoughts. Y love quartal harmony but sometimes it seems too much, and it sounds ancient. My favorite part is A perhaps because it has more countermelodies. In general the piece, although has those countermelodies here and there, has not a contrapuntal essence. That's why it sounds lie a fanfare and the section "molto staccato" is a bit unconnected, since the feeling is "pastorale". The engraving is good, apart from a few collapses, as it has been told, and the sound very fine. It reminds me of some Shostkovich's passages.

Dear Alex, I enjoy the overall atmosphere of the movement! For me the flow is really great! It's more on the materials and structure. It's almost E minor throughout the piece and the structure is not contrasted enough for me. I enjoy the modulation in b.92 to C sharp minor (my fav!), but otherwise the tonal structure is not contrasted enough for me as a Baroque piece. Yes the cello score has way too many ledgelines! You can use tenor clef or even treble clef if you want those high notes, and viola will be beautiful as well! Yeah there's way too many notes in the soprano part! In b.26 a single note for a harpsichord is not quite idiomatic, probably a chord will be better! Also I think the piano can be replaced by harpsichord as well! You use the lowest notes for the Eng Horn in b.79, and b.92 oboe is unplayable even for a Eng Horn! A bassoon can be used for that! Thanks for sharing! Henry

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Thank you very much for listening and commenting. If you could not hear it, i sadly did not succeed. Williams subjejct is the first. The opoening in the alto is just free counterpoint. The entry i 28 is Jonas-subject. Semiquaver beat parallels is done all over the baroque era, should be avoived, but it has something to do with the subject and the figures in this case. 🙂 Im glad you noticed fsharp minor section, that is where the drama between the brothers happen 🙂 Thank you very much for listening and commenting. I had marked inn the names for the subject, but something happend when i editiet the score. I use organ sounds because the sound better. Not much scorewritten dymanics in baroque, not in my music either. Up to the performer or conductor. The lines of the music talk for themself 🙂

Thank you for reading! Your last sentence is quite enlightening of my current choices: my pieces written in my youth were all dark in color, evolved in a rather black and wounded universe. I wanted in my last compositions to draw less depressing perspectives! So, if Reached Alert is probably still quite heckled, with a rather heated theme and laments of the cello, I also did not want to fall into despair but to keep a scherzo, playful, and joyful side in his sneers, all the same. This is even more true in Lucid REM which is not at all a dark drama as you note. I set up some dives in depths but the idea was always to go towards thinning. (so thank you very much for having it seems to me to have noted these points).