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Hello there So, this is going to be a weird review. It's because I like your piece a lot, and you're an outstanding performer. And the crux of this comment is not about good or bad, but you and your goals and decisions as a composer. First of all, yes the audio isn't that great. Yes I know you know that. Yes I'm the same way, I care mostly about the notes themselves and the performance. Yes sharing your recording here of all places is absolutely acceptable (hell it's better than any midi), but what others have said rings true about quality being very important. I'd say it's something to invest in, but if your situation doesn't allow you to freely record yourself in some optimal way... do what I do. Just go to a studio and have them record you. It's worth all of your hard work and time you've invested into your own music. Trust me, music production is a lot to learn, and you can do it, as can I. But if you're anything like me, learning a bunch of nonmusical nonsense in home recording is tedious and boring. If you're up for it, great. Go full throttle because it IS worth learning. But I don't have the time or money to care as much as some others who really enjoy the craft and dedication it takes. I'm amateur at best, and I'd rather devote my time to practicing my instrument and pure composition rather than mixing and engineering. You're a smart guy, you work a nice job and make a decent living. You're single, yes? No kids? Damn son, save that money for studio time! That aside, I'd like to mention that I thoroughly enjoyed this music. As always, you continue to dazzle us with your great performances (throw away the humility of pointing out your mistakes to us. It's not as bad as you think, your performances are always very impressive). You continually display a brilliant understanding of the studious aspects of music. Sonata form has become your bitch, and your craftsmanship of motivic development is something that anyone aspiring to better themselves in composition could learn from. There's nothing to say that's "wrong", or that the technicality of your music falters by sentence X of page Y in theory book Z. At least not that I heard... but that's kinda my point of this post... we'll get to that. I love that you just poured your heart out into this. You let your emotions take the reigns and dictate your every move. It sounds raw to me, like a primal rage kept in check by your studies and skill as a composer. I listened to this a few times, and after the first, I took off my composer hat and just let the music take me wherever you wanted it to go. Henry, you ARE a fantastic pianist. This is more personal to me, and not really the point of anything I'm saying in this comment, but I adore every time you mention your students, or any time you talk about being a teacher. As you know, I've done the same, and there are so many times where I catch myself learning new things and thinking about an aspect of music in a new way simply by reinforcing my knowledge or experience to someone else. The detail you give your performance (and other pieces of yours!) is something to admire. Sure I play piano a bit, but guitar is my main instrument. And the care you take with your precision and desire to let the musicality of your music flourish is something that I've taken from listening to your music. You'd be surprised to know that there have been times when I record myself and think, "yeah, that's good"... but then re-evaluate. It wouldn't be good enough for Henry. Gotta do it again. It's better that way 😄 If you're going to immortalize your music with your own recording, make it perfect (as in the performance, not the audio haha). So... anyway...................................... I have to say this. I really do. You're brilliant, and deep down, you know you are too. It's so obvious to me that you've studied music composition with great love and care. You've found a passionate bond with music, especially with your favorite composers. You wield the torch of the great romantic composers, most notably the one who created the era. Beethoven is one of my heros, as is yours I know. I can tell with great certainty that you've dissected and absolved all the information and knowledge you could receive from his music. IN FACT, although this changes over time, I'd say for the past 10 years or so Appassionata has been my favorite sonata of his. Of course you know that one. I can tell from listening to your piece. There are many things that reminded me of this, as well as Beethoven's "style" in general. I wouldn't say your sonata movement is the same as Herr Beethoven's music, but the way you treat material is a lot of times. That's not wrong or bad, but when you get feedback that says, "this reminds me of Beethoven", or, "you need to broaden your harmonic language", I think it stems from this. There are lots of examples that make me think this; this quest for originality is difficult. For instance, the popular band Polyphia is very famous for their technicality, but the harmonic language and treatment of developing material is pretty standard (sometimes annoyingly novice IMO). So what sets them apart? It can't just be the technology and effects of 2023 instruments and guitar pedals. They wouldn't be as admired. Or what about Beck? Or Primus? Or any band or musician that has made themselves revered and their music loved? WHAT IS THE SECRET??!!!?! Or to simplify my point, what was it about Beethoven that we still listen to and study his music in the 21st century? His Piano sonata no.2... is that not Haydn influenced? Tinges of Bach and Mozart for his Minuet in G? What was so great about him? He was learning and discovering who he was, not only as a man but as a musician. He learned from the greats of his day, just like you do. But at some point, he abandoned the framework of the masters he learned from and decided to give the world a new flavor. A flavor he crafted and that was his own, and he didn't ask or take a poll with everyone to see if it was what they wanted and liked. People don't know what they want or like, you have to amaze them. Beethoven, known as a brilliant improviser and brash emotional musician, started his first symphony (is he not known for being one of the greatest symphonists?), at the age of 29 or so, with a C7 chord to F. It's in the key of C. He purposely lead the listeners ear in another direction to give ambiguity, right at the start. Isn't that cool? In the year of 1800? Idk, stuff like that really makes me respect him. And it's because he used the absolute fundamentals of music to be creative, not timbre or effects. The point is, I feel like it's WHAT he was thinking regarding music theory that would be cool and interesting that's so impactful. Think of the French hearing Stravinsky's Rite of Spring for the first time. Who cares what the outcome of that performance was, he transcended time and knew his music was meaningful without caring what the perception might be. Debussy's Prelude of the Afternoon of a Faun... he was 32! Was he an accomplished pianist and musician? Absolutely!! Was he thinking about the creative use of the lowest flute register? Uh, probably! And just like you, he dedicated so much time in getting better at his craft. Do you know Jimi Hendrix? Watch footage of him as a black man playing electric guitar for a bunch of hippie whiteys. So many moments of awe, as normally you'd see people dancing and banging heads, but instead a look of wonder and perplexity consumed them as they witnessed a wizard. How did he get that original? Well, he grinded the Chitlin circuit, and learned from the masters, just like Beethoven, just like Polyphia, and just like you. So to anyone who says your music isn't original... just wait. In a few years time, you'll continue your craft, you'll get better, and you'll continue to explore that inner voice you have that keeps you going until you not only make a mark on the world of music, but you'll craft a scar. It'll be unremovable and originally yours. To summarize, this is fantastic music, but more importantly, I'm excited to hear your evolution as a composer, musician, performer, and friend. You have immense talent and an unfathomable love for music, yet the greatest attribute you have in my most humble opinion is your craving to help those around you. It's already a given that you're an outstanding musician and will grow to the greatest heights of craftsmanship, but your larger than life heart will take you farther than you realize. Thanks for sharing, this was a joy to hear, and well done Henry 🙂

Hi Henry. This is beautifully written and performed! The triplets and polyrhythms are clearly reminiscent of Beethoven's piano sonatas. My only slight reservation with this piece if one of personal taste. I've never been much of a Beethoven fan, and tend to prefer Mozart from the composers of the Classical Era. Musically I seem to be more in tune with almost any other Era of music: Medieval, Renaissance, Baroque, Romantic, Modernist and Postmodernist. Classical is the one period/style I struggle to appreciate. I am a big fan of Chopin though: so I enjoyed most those passages where his influence comes through.

Many thanks for listening Peter. I didn't want to be too prescriptive with the pedal marks, as it makes such a big difference to the character of the piece. Wanted to leave some latitude for pianists to make their own interpretation. Sometimes they can surprise you! I've been told I should probably add some time signature changes; but not really sure where to put them.

Sorry for coming late to the party, Henry. I’ve been planning to comment for a while and actually listened to this piece quite a number of times. I can clearly hear the Beethovenian influences with the fate motif, and the piano writing is indeed chopinesque. As others have mentioned, the harmonies are completely suitable for the type of work you are writing. Although there are touches of Henry Ng in this piece, I do think there are heavy influences from other composers shaping your music. In the process of finding originality, I think you should try shaking those influences a bit more. Perhaps add some 7ths or sharp 9ths to those V - I progressions, and spice up the rhythms of the fate motif. Writing smaller pieces will help, that way you can fully work with a specific idea you want to explore. Hope this helps Great work on this, though. I could probably never write or play this well.

I particularly liked this fugue. Because the lines are balanced in that they follow different motivic-rhythmic patterns. That makes them perceived as very independent and clear.