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G'day fellas, We may associate each of the greatest composers with a condensed list of pieces that cemented their places in musical history. But now and again, we may encounter works by those same people that we feel showcase their talent, heart and soul equally or in some cases even more than many of those that made them into household names. In short, what are some of your favourite pieces from great composers that often get overlooked in favour of their more "popular" pieces? Here are a few of mine: String Quartet No. 3, Op. 30 & Souvenir de Florence, Op. 70 (Tchaikovsky) Ruy Blas Overture, Op. 95 (Mendelssohn) Tragic Overture, Op. 81 (Brahms) Violin Sonata No. 1, Op. 8 (Grieg) Cello Sonata, Op. 19 (Rachmaninoff) Symphony No. 4, Op. 60 (Beethoven) Symphony No. 3, Op. 52 (Sibelius)

Hello, here my last composition for string trio and continuo in binary form.

Hi, today I upload my most recent work. It's an impromptu in D-flat major in which I tried to recreate some dream-like textures within a late romantic style. I hope you like it! Impromptu.pdf

Grieg - 4 Album Leaves, op. 28 ( all four are beautiful hidden gems to me ) Some other of his even more obscure Lyric Pieces. Sibelius: - op 24 no 9: Romance in D-flat major - 6 Impromptus, Op.5 (No. 5 Vivace: B Minor) - The Sapin Op.75-5 - Etude In A Minor Op. 76 No. 2 Heino Kaski Night By The Sea - Op 34, No 1 Oskar Merikanto: - Idyll Op. 73 No. 1 - Valse A La Chopin Op. 6 No. 5, in G minor, Piece No. 14 - Merella Op. 47 No. 4 Aarre Merikanto Six Piano Pieces op. 20 ( all six ) --------------------- Still quite well-known, but ( perhaps undeservedly ) much less known than their other pieces: Brahms Rhapsody in G minor, Op. 79, No. 2 Tchaikovsky - October of "The Seasons, Op. 3" and other months other than June.

You guys are awesome, thank you so much for the kind words once again. Im actually studying production and sound engineering at Catalyst Institute in Berlin, and for my final graduation project we get to propose any large scale project that we want and we had about 4 months to make it all happen. It was absolutely incredible, only the cellist was from my school but everyone else are working musicians here in Berlin. I bothered them as much as I could with questions and comments and my greatest success throughout the process was the musicians themselves somewhat enjoying the music. That meant a great deal to me since they're true professionals. I do play piano, most of my life actually, but I never really practiced so now I just use it as a resource to write music. I fell in love with classical music only about 4 years ago, before that I was into classic rock and some current pop/indie music, but man it hit me like a sledge hammer and for reason I just felt like I could do it myself. The biggest issue with composing is that I read music at a kindergarten level, like barely at all. So much of the simplicity is me just not knowing how to score what I'm thinking of or even playing on the piano. The main reason I felt confident doing this whole project is because i picked up some things in terms of orchestration, so understanding the instruments even a little bit was enough for me to jump right in. Score reading is one of my weak points for sure. As often as I do it, it's so hard for me to actually use what I learn and usually still go with my instinct. I will keep working at it, possibly by narrowing my scope so I don't get overwhelmed thinking that I need to analyze a whole symphony. I love being abroad man, Berlin is absolutely incredible. A true treasure of a city, I would recommend it to anyone. the change in scenery has also been a great excuse to push myself as much as I have been, let me know if you're ever in town! 😄 Thanks again man! Best, Nick Schuman

Hi @Quinn St. Mark, Me like Vince don’t know the difference between them! I have never heard the term Saltarello LoL !! Watching this I think they are literally the same thing?? I really enjoy those complex chord progression! By the way, why don’t you write the piece in 12/8 so that you can cancel out all those triplets? I think those octaves in b.15 onwards can be really difficult to play! I mean even Brahms Piano Sonata or Chopin Scherzo no.3 are around the same or even slower tempo! I think like Vince said, you can develop a bit further first before having those virtuosic passages! Thx for sharing, it does look promising! Henry

Hey there I can't help you with the saltarello tarantella difference, mainly and predominantly because I don't know (lol), but if it at all helps it starts like the famous tarantella in a minor? Speaking of which, maybe a potential direction you could take this is returning back to the quarter note rhythmic pulse you established in the beginning. In all honestly, this piece to me got insanely complex or virtuosic (why the E above middle C on beat 3 of bar 13 for the left hand? Why not an octave lower? Stuff like that). To me it would be cool to have all of that complexity and then return to the simple rhythm from time to time. I'm curious as to where you take this piece, it sounds very promising so far!

My own works