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Hello Rich 🙂 I'm glad you liked this movement (which has been the most difficult to compose in my opinion). About the idiom, it is true that my compositions seem to draw its inspiration from mutiple composers and you may be right that the style sounds (too much?) eclectic at the end of the day. This is something I should work on. Hello @Henry Ng Tsz Kiu! About the link between the movements, you're right: this is something I love to do as it seems to give the piece a coherence in its whole (I think Mendelssohn was the first one to do it consistently in the symphonies and concertos). About the technical points: you're absolutely right in your critic and when I will rewrite the work (not today but I will definitely do it) I will rewrite the small opening of the movement to make it harmonically smoother. The Left hand in b23 onwards is also something really easy to rewrite so it will be done. However, when it comes to the Scherzando section, I really like the contrast between the glorious orchestral fortissimo followed by this humoresque section. What is correct however, is that this section seems too short and should be lengthened. Thanks a lot Henry for the consistency of your remarks and advice. I really value your opinion. I agree with you about the style thing. I consider myself too immature to begin to find my own voice, and this explains why I'm mainly inspired and immersed in the style of the ancient masters. Hi ! Thank you so much about your advice concerning the tempo marking. That was something I was not aware of, and I'm definitely going to pay attention from now on. I'm glad you liked this movement Luis. Sometimes, I like to listen to orchestral music without scores too, because it allows to move you deeply without having to pay attention to technical factors. Thank you for your honest opinon, I'm glad you like the scherzando passage !

Hi everyone, Here is the final movement of my Piano concerto in C minor. I began composing it in the first lockdown of 2020 (!), and finally managed to end this (time-consuming) work. The final movement is a rondo. I will surely write the plan of the movement in the next hours even though it is quite clear. I use the main theme of the concerto in this movement (the one of the first movement). If you want to be familiar again with the other movements of this concerto, here are the links: Finally, here are the PDF and audio of the 3rd movement:

Here is my minuet and trio in C major. A bit more baroquesque than my usual offerings, except for the speed. When Mozart was 14, and in Italy I believe, he wrote about quick minuets which a bit more livelier than the stately dance he was used to.

the double bases playing the 16th notes in the beginning feels extremely dense and contradictory to the intended light texture in the beginning, I'd have them either playing pizzicato every few measures or not at all. When the violins take the melody, maybe integrate the winds into the pulsating rhythm, this will also cover space after you hopefully remove the double bass within that texture. The dissonance in measure 44 sounds out of place. However, your melodic lines sound mostly very natural and I could imagine would be phrased nicely. They were quite enjoyable. I would advise you gain a better understanding of orchestral texture and weight distribution, so you can achieve a more balanced and natural sound. Keep in mind double bass may find it difficult to stick out of a full orchestral texture as well. Good luck and happy composing!

Thank you so much Carl!!! I love Rosas's "Over the Waves" too. And his waltz "Daisies Flowers" too. I am glad you liked the piece, and I'll be happy to share the orchestral version as soon as I can 😄

Hey Pabio, Again this is nice fugal stuff! I always enjoy your fugues since they are precise. Actually I sometimes enjoy your fugue in minor mode more since they are more chromatic and advanced in the characters and sequences, and this one is colourful. I agree with @Luis Hernández that you tend to have thick and dense counterpoint without some sections having a lighter texture. I also agree with @PCC with the playability issue since I always address on that in your previous posts haha! Nonetheless it's very enjoyable and thanks for sharing! Henry

It is a beautiful escape. From what I've heard of your fugues, it's a characteristic of your style to maintain a constant density. The sequences sound great and the development phenomenal.

1. amazing counterpoint! a very nice solved jigsaw, as with fugues do, and flows very well 2. I do think a slower tempo will help though, especially with your concern of a short subject (not a problem for me), I do think it will bring out the tension and resolutions better 3. Mr big hands?

Hi again Camfrtt! Up to minute 5 everything flowed effortlessly, no criticism. The transition you did at that point though, was a bit unconvincing to me, but I would say this is the only thing that had that effect on me. The rest was just very, very enjoyable, other transitions to new material were too. The mini-scherzo that precedes the final section was perhaps one of my favourite parts, but the rest of the piece isn't actually far away from it. It sounds solid. On a final note, my only advice here would be paying attention at ComposaBoi's advice on the engraving, though I'm not a violinist either. Thank you for sharing, it was a pleasure to listen to. Kind regards, Daniel–Ømicrón.