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obvi this was written a long time ago also not completed, but, I haven't uploaded in a long time, so, henceforth, upload 4 yall.

Hi @PeterthePapercomPoser, thank you for commenting on my piece About the contrabass clef, it was a mistake and now it is solved. The chromatic harmony sounds pretty interesting, do you recommend me any website/video/book to learn more about it?

Thank you so much Peter, I really appreciate you listening and your time in commenting. Yes it is probably a bit much to ask most casual listeners to hear the whole suite without a break. If I write another multi movement piece (or rather, when) I will upload it directly and individually. I think I had a problem in that the rain piece in my head was really a summer storm, not a heavy torrential downpour. Also I let the melodic progression take over rather than concentrating on the rain aspect I think. It has two clear halves where as you say it doesn't begin to pour down until the second half - I don't know, it's problematic. I didn't intend the 2 half thing, it just happened. I do really love the snow section, I can see the dancing, swirling flurries in my head but the next section, Berria, as you say, possibly should be a little slower and yes, 'interpreted' better. The truth about that section is that I found Lily Boulanger! 😂 She led me astray - while Berria doesn't have her harmonic language exactly, it changed from the Ravelian influences of the rest of the suite, which is also problematic 😂 Anyway, it's all good to know for the re writes. Thank you again for your kind words.

Thank you for your thoughts! Yes, maybe I should write a piece of music with fewer instruments. It would be interesting. I'm thinking about a string quartet. I composed a medieval-like music, I posted it on this forum.

😝 Let us forgive the teenage Henry LoL! Thx! Yeah this one is definitely very emotional! The development technique may be come from Beethoven haha. Thx for listening and I am happy you enjoy it! Henry

Although now that I listen again to the end of this piece it seems like the development section already contains a fake-out recapitulation of the A theme in it - that might be whats holding you back as it might be too early to bring back the A theme. I would keep a sketchbook of variations of all the themes you've used in the sonata so far and use whichever ones seem appropriate to build a development section out of them. But that's just how I think - I always work with variations/variation techniques.

Hi Mark, I really enjoy your Ravel-esque or at least impressionistic flavors you portray here! For the sake of convenience it would be much easier to listen to the individual movements if you included them here as individual mp3 files uploaded in order. Plus links to other sites whether YouTube, dropbox or soundcloud often break when the composers for some reason that befuddles me, remove their accounts or delete their old compositions. I like how you connect the end of Brisa to the beginning of Lainoa. There is a clear harmonic/motivic link between them I think. Euria starts with quite a wild flurry/gesture! Although I find Euria quite tame with lots of space for the expected depiction of a rain storm. I guess it starts raining in earnest at 134 though. Elurra is more active and quietly frenzied and seems like it would be more appropriate for a rain storm while Euria seems more like the snow/frost movement! LoL But I do see some icy-ness in the high and quick piano figurations/ostinati. Berria seems like maybe it would be even more effective a bit slower. This one can perhaps benefit the most from the touch of a real pianist. Overall - a great suite! Thanks for sharing these and great job!

Hi Oliver, I like this piece. I noticed however, that many of your pieces resort to stereotypical "epic" scoring for choir and orchestra and sometimes using the "aah's" in a typical way as well. I know you've written solo piano pieces that you've shared here as well. Have you considered writing some chamber music? I would be excited to hear what kind of music you could write for 8 individual instruments or less. Or maybe a Piano Trio or String Quartet? When writing for those kinds of ensembles you have to use different means to create variety and contrast and it might be a good exercise for you! I did enjoy this piece ofc although of course, without a score it is hard to tell whether everything you've written would actually be playable by a real harp. Also - nice job with the horn lines! But the reason I mention smaller ensembles is because you seem to be using as many instruments as you can/fancy. But writing for smaller ensembles might force you to be more economical and concise with your use of orchestral forces as well. Thanks for sharing!