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Not an original composition, but a transcription. I recently came across a rare piano piece by H.W. Ernst that I decided to transcribe for violin and piano. I figure if the composer is H.W. Ernst, it deserves to be heard on the violin.

Thank you for your submission. These are quite good for something you've done in one night! Your first variation is more complex than your second variation. But since there are no other submissions yet, you get spots 1 and 2 so far!

Good day Henry, I hope you are well. Wow, this is a great piece, both tragic and beautiful at the same time. I especially love the second part of the fugue and the C minor section that you say is your favourite. I'm very impressed by the fact that you have written a fugue for 6 voices, something I could only dream of doing. Not only have you managed to write a fugue for six voices, but have filled it with honest, raw and beautiful emotion and clothed it in tragedy. All I can say is, in the words of Robert Schuman: Hats off, gentlemen, a genius! Nga Mihi, Arjuna

Well said! Also, triple stops as you have them are not sustainable on the violin. They will play the bottom not and sustain the top two.

Dang man, I didn't want this to end 'tis awesome

I'll join But, what if we had the deadline a bit earlier? That way you could post the video for your YT on Valentine's? Either way, sounds fun

Hey Peter, Thx for your badge and comment! Meh I didn’t retain Jonathon’s propensity since my fugue is definitely composed earlier than his posting! But I really want the dissonance here to kind of portray the sadness I am feeling! Thx! I know what you mean, but that’s what not I am chasing for here. I am maybe more chasing for the exemplar of Beethoven’s op.131 first movement here: an ongoing sadness over and over, and I think a contrasting section with toccata like rhythm and texture will ruin the mood here. I love Bach’# Wedge fugue too, but I think its treatment doesn’t fit here! After all I want the fugue to be within the organic structure of the Sextet, so all three subjects comes from the first movement! The contrast is created maybe by comparison of this fugue and the previous Lamentoso section in the movement which is more personal, subjective and emotional, even though I have yet to finish it LoL!! Also I think I am trying a more Palestrina approach here even with the dissonances, since I try to use steps as much as possible and maintain the overall shape of an arch when there are leaps. This may also be the reason the movement is less contrasted and personal! Argh I will never try it again! It’s so difficult to write with 6independent voices even though it worths it! It’s hard to get compliments from you haha, thx for that! Henry

tysm Peter. Its nice to know there is a method to my madness from someone elses perspective haha!

Score?