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I mean really, I don't think there's a Scherzo that I haven't liked. But my favorites would definitely be Beethoven. Like for instance this C minor Allegro from Piano Sonata no. 13 in Eb, not marked Scherzo, but very Scherzo-like in my opinion Or this Scherzo that makes me dance every time I hear it: Or this string quartet Scherzo that I used as background music in the introductory video of my Analysis from an Arranger's Perspective series, which kind of got put on hold(Didn't use this exact performance mind you, but I did use this Scherzo):

Hi @Alex Weidmann, I like the modulation around 5:30 to C minor!! Very interesting and nice change there, and modulate to E flat minor is a nice touch, even though it will be adventurous for a Baroque piece. But ending on E flat major will be unsuitable for a Baroque piece, but if the style is not your main concern it will be fine. It depends on your conception of the structure of this movement. For example, do you want a dramatic middle section which feature frequent modulations, or a stable middle section in a related key like G major, B minor or A minor etc.? In b.58 the bass will be out of breath with that long note! Thanks for your new version! Henry

Thanks Henry. I've worked in a couple of key changes during the build up to the tutti at the end. Hope it's an improvement? Do I need to add more key changes in the middle section perhaps; or would that be too much? Also changed the two entries I mentioned, to make a more natural transition of motifs.

Hello @Henry Ng Tsz Kiu, As you said, this work could be a prelude. As always, I really appreciate your comment and criticism! The reason for the B flat is the harmony, is a note from the chord A7b9 whose ninth is B flat. By the way, Camille's pieces are very interesting, thanks for sharing his music! Claudio