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here’s my other variation. It’s supposed to be in a “space battle” style and is definitely supposed to be orchestrated but as i haven’t done any orchestrating in quite a while i don’t feel confident about doing it myself.

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)!

Audio.mp3 Now that I have finished my recent project, I want to share what I am working on next. This started as some orchestral practice, but has evolved into something more solid. So far I have the outline of a slow adagio followed by an upbeat allegro that is reminiscent of Haydn's style. Hope to progress with this over the coming months. https://musescore.com/user/69480886/scores/14324641

It's some time since I spent time with his symphonies unfortunately only on record, but if I recall it was either his 5th or 6th. Probably the "Grave", 2nd movement of the 6th, IIRC, that seemed to avoid resolution wherever it could. I have the study score for this (long out of print) and seemed to remember aided by hints in programme notes somewhere his use of this mode. I may be wrong though. I'll try to find time to check. The problems is, so far as formal structure goes, I get seriously influenced by his work. The movement mentioned was the inspiration for that locrian symphony I wrote - at least some of it was submitted here. .

oh hi fiddeou its been a while we havent got a chat on discord! like 3 years !! nice to see that your still composing 🙂 and gorgeous piece by the way, the stretching effect is really cool

You could play the 2 voices in succession or arpeggiate it, either works. I've seen many scores with chords that are like almost "impossible" to play, but the pianist ended up doing either of those two things (I know the audio provided doesn't do that). This specific section is also a slow solo section therefore the pianist is in full control of the tempo. So yeah, I think it's fine. Yeah, I've learned the same thing. But through many scores that I've learned from, I've actually seen many specifications of bowings in the strings in some parts. Definitely need a bit more research on that. Thanks for listening! Glad you enjoyed it.

It has been long since I write something concrete. Shall take it as a spark of hope and thank you for the challenge. Please count me in.

Think I hear some touches of Debussy and Ravel in this. The triplet figure in Bar 30 for instance. Quite a tricky piece for the pianist. Bar 99 has some big spans that would be hard to play unless you have very large hands! Interested to know why you decided to specify up and down bowing in the strings sometimes? I've been told it's best to leave the bowing to the musicians. Anyhow congrats on completing this major work! Very much enjoyed listening.