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I wrote this while bored in atonal music theory class, and I intended this chorale to be sung by an actual choir, hence the attention to breath marks not normally necessary for keyboard instruments. I also gave myself freedom to write things unplayable for just two hands (though any organist is welcome to move the bass to the pedals). Funny thing is this piece probably took me longer to assemble into a bearable audio file than it did for me to actually write the notes.

A piece about the landscape after it finishes raining. This is more of a sketch at the moment.

Hello everyone, This is my first post here and I wanted to share a piece I recently wrote with you all. Let me know your thoughts! The five poems within my composition Poetry collectively narrate a heartbreakingly beautiful, vastly complex, and motivically interwoven tale. The suite opens with the Prelude (0:02), a fantasy-like prophecy of the other poems in the suite; the bells of reality can be heard in the distance. Dreamy visions pass transiently through the background noise, and as the piece progresses, the bells increase in intensity to prevent the visions from fully materializing. The bells soon find themselves trapped in a climactic whirlwind as they start to transcend time and space, like accelerating into a wormhole, falling faster and faster and faster... In the Lament (4:34), one finds oneself in a completely new world - one that is bare and empty. The offbeat rhythms insinuate a notion of regret, and the unresolved pedal point during the climax leaves the listener yearning for closure, although there is none to find. This poem ends with a painful lullaby-like restatement of the opening theme, as if crying oneself to sleep. During the night, the Nocturne (8:12) slowly brings the once-barren world to life. After a plainly stated opening theme, the progressive harmonies start to bring wonder and color to the world, while the stars twinkle in the distance. As the sun rises, its rays illuminate the colors of the landscape, which mix to create a brilliant backdrop of green mountains, purple flowers, and a golden sky. The Scherzo (12:07) is an idyllic depiction of the utopia the world has now become. There is joy to find in life! Jokes to laugh at! Authentic cadences, for the first time! The tender, warm feeling of being loved! Moments of pure brilliance and ecstasy! Excitement! What is there not to live for? It's everything one could ever want in... Postlude (18:46): a snap back to the bells of reality.

Noooo.... The execution is excellent. It gives life to the work. Maybe I didn't translate well, ...

I think I do play this with fire! After playing this on piano, this one becomes my favourite. I get so high and energized playing this one that I add many accents through the swing of the body to the keys like I'm dancing. I agree with @Luis Hernández that some chords are Stravinskian, particularly p.3 when it reminds me the Augurs of Spring form the Rite. This one is also the most difficult one out of the set I have played so far. The rhythm, the offbeat in p.3 and the trills PLUS notes fly up high in p.4 are all really challenging. But they all worth the effort! I am just afraid I had scared people around when I practiced this one since it's very loud which is not shown in the recording!! Henry

The execution.... is bad 😆😆😜🤪?

Just to say that I liked it very much. I find it difficult to write about an ostinato and not have it be monotonous, which is not the case here. In another moment of the development some percussive chords sound that remind us of Stravinsky. The execution...., essential.