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I’m sorry for the late update in this. I had completed the work towards the end of December, and uploaded to my YouTube channel directly from MuseScore. There have been since some changes, namely a replacement of the slow introduction to something better suited, in my view, to the subsequent early-classical orientated movement. The final, third movement has also been completed (more or less). I hope people on here will find enjoyment in the work. I personally feel the reflective interlude that is the second movement is well contrasted with the final, upbeat and (perhaps) witty finale. Do let me know how you interpret it. ps - I have entered into the competition already. I’ll inform the topic of the adjudicator’s comments once available!

This is intended to be the second part of the second movement of my String Sextet in G flat major, after the part of Lamentoso. These two parts are very different from the more fleeing and transcendental first movement as I hope they capture the sadness of the time and what I feel, before leaping back to the world of the pentatonics later, which would make the pentatonics more grounded. Here is the first movement of the piece: Here is the first part of the second movement of the piece, the Lamentoso, which is actually finished after this fugue: Here are the scores, the original version and a version with my own (painful) analysis on it: Final Fugue from String Sextet movement 2.pdf(With Analysis) Final Fugue from String Sextet movement 2.pdf And here is the youtube video: The piece is dedicated to Mr. Johnson Ho. The finishing of the fugue is prompted by hearing his worsening health, so I really want him to stay healthy. The inspiration of the fugue first comes from my friend Mike @chopin and my mentor David (I am very honoured to name him my mentor even though we have never met in real life since his videos form the skeleton of my composing skill. Go watch his analysis videos NOW!) said that the middle fugato section from the first movement is the best part of the movement. I was shocked since I believed it was the worst of the movement! Then my bro Vince @Thatguy v2.0 (who also makes this perfect audio) inspired me to write a dense fugue for the second movement, and so I challenged myself to write a six part fugue, since I feel like it’s not fully realised in the first movement. This is he most difficult I have ever written, but finishing it I now consider it my most beautiful work composed up to date. It’s so emotionally deep, even weirdly I feel zero emotion during the composition process, only calculating the counterpoint haha. I am so satisfied with the result. The fugue comprises of three subjects, all from the 1st movement. The 1st and 2nd subjects are from the 1st movement fugue’s subject, while the 3rd subject is derived from the opening theme of the Sextet’s first movement. Here is the plan of the movement (time according to youtube video): First part (00:03): First subject enters in each instruments, inversion introduced at . All of sudden C minor enters (01:55) and I quote my subject of the C minor Clarinet Quintet 3rd movement fugue here to intensify the sadness. Also kind of replying to the relationship of G flat major and C major in the first movement, but while freedom is shared there, now sadness is shared. Second Part (02:12): Second subject enters and the section features a saturation of stretti. The C minor section (03:56) comes in at and it’s my favourite section of the whole fugue. It’s insanely tragically beautiful here. Third Part: Third subject enters (04:58), first and second subjects combine in the manner of the 1st movement fugato. The intensity is kind of lowered after that insanely tragic C minor section, maybe kind of accepting and reflecting upon it, and it’s less saturated with the subjects. However things starting to get intensified, first the third subject is treated as in Bach’s Chorale Preludes when it is cut up and divided to four phrases alongside the other two subjects (06:29). The only pentatonic entry (07:16) arrives to kind of relate itself to the first movement and hints what will come at the end, but at the meantime it’s defeated by disappointment and the fugue ends in a doubtful manner, which will lead to the chant section. Hopefully I would finish the whole movement as soon as possible! Hope you enjoy the fugue now! Henry

This is a piano sonata I've been working on. It's sort of a venting piece for me. I write it while dealing with the thoughts of being a gay man in a conservative Christian community, so I think it's applicable for Saint Valentine's Day, but instead of "I love you," it's more, "I wish I could love you (without being abandoned or shunned by everyone I know)." Kind of melodramatic, I know, but I'm pretty happy with it so far. I plan on making 2 more movements. Forgive my mistakes in the piano recording, (especially measures 246-7. Yikes, I butchered that)!

An orchestral piece inspired by a science fiction story I wrote some time ago about two astronauts who discover animals made of exotic matter on an unknown planet. I hope you like it.

Btw markus i saw that u love baroque composers 🙂 if u wanna have a chat on discord it could be cool

here it goes i m sorry for the bad edtiting but its really time consuming to adjust everything from midi into musescore sadly. i also have trouble with dynamics from a digital workstation its bad nvm forgot timpanis

Apparently, I find myself once again amidst a rush of unbound creativity. Such fleeting downpours of inspiration must, in my opinion, always be unleashed and put to good use. In this case, the vast majority of this fugue has been finished today. The subject was inspired by a theme found in a videogame released relatively recently: Lies of P, which I have grown quite fond of (the few weekends I can return home to play it, that is). As a sidenote, from what I have read, trills on the pedalier part, albeit difficult to perform, are still executable with sufficient technique. The piece would have probably been more practically fitting for organ, due to the fact that pedal harpsichords are rather scarce nowadays. Still, taking into consideration the tastes of my audience, I felt it was best to use my customary harpsichord soundbanks anyway. Enjoy! YouTube video link:

Haha yeah! Beware of getting post partum syndrome after finishing a big work! Now maybe just time to rest a bit and not getting physically sick!! Yeah this is true, like all of my music LoL!! Henry

Hey @Markus Boyd, I have listened to the last movement and I really like the Scherzo! My favourite passage is of course that C# minor one in b.341 and I hope it will be longer! Also I really think your new introduction more fitting than the old one. Hopefully you get some good comments from the adjudicators! All the best! Henry

Many different composers throughout music history have written waltzes - from Viennese through Russian and others. What is your favorite? I like Khachaturian - Masquerade Suite - Waltz for it's chromatically non-functionally moving bass line and an intoxicatingly dreamy melody.

The starting motif really made me thought that it was going in the direction of Liszt's Hungarian Rhapsody No. 2, but its suited that its not, though the motif keeps coming, it is in different ways. A bit far-fetched here, but the later parts of the piece, which I like more than the start, remind me of the middle climax portions of Oskar Merikanto's Idyll and Romanssi and Chopin's Nocturne Op 27-1

Dear Peter, Thank you for your kind words and explanation about double stops. And sorry I didn't reply sooner! I have several cello friends so I will consult one of them at some point. There will probably be a way of reworking the affected bars to avoid the double stopped 5th. KR, Louis