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You are very welcome, of course! but I must ask you... have you read Kierkegaard on Don Giovanni?? Lots of philosophy in Da Ponte e Mozart together!

Hey @Giacomo925, Thx for your comprehensive reviews! I really enjoy your digging into the details by listening this Lamentoso and the fugue!!! Yeah I love polyrhythms now, especially when @chopin (sad I type @mike until I found I’m wrong…) pointed it out in my Piano Sonata no.3 video! It definitely helps mix the texture and heighten the drama! Really, if you didn’t point it out, I won’t notice that I did use some Beethovanian elements! In the same b.110 passage in the violins, I noticed that I even quoted the rhythm of the finale of Beethoven’s op.131, my all time favourite movement! I know nothing of that until you pointed it out, so thx so much!! Yeah I hope the two parts can bring contrast with each other, with one more fragmented and one more United, which shows the different status of the one who’s sad to the world (possibly me). The fragmented nature of the Lamentoso is like I can cry whatever I want capriciously, while the fugue it’s like I’m reflecting on my sadness and started to find solution (or dissolution) to it, so it has to be more objective with the counterpoint rules and unified. Thx for that! The theme comes from first movement’s fugato in b.334, developed in the rest of the first movement, and then resurface here and used as the first subject in the fugue. I hope this will bring coherence to the piece. The transition to the pentatonic is deliberate since that would act as a foreshadow to transit back to the pentatonic ending of the whole piece. Yeah! Thx for noticing this! I wanna have a strong narrative force between the movements, otherwise this won’t be a piece at all but two random movements hung together unwillingly. Yeah that passage was composed before the fugue, so I quoted that at the end of the fugue to bring some coherence. Yup I want the instruments really sing out their pain. For myself I don’t like opera since I find the themes of the operas not philosophical enough. If there’s philosophical opera like an opera on Kant’s Critique of Pure Reason I won’t mind listening to it haha. Just a joke. Thx! I really want the second cello to sing there since it’s the only chance for him haha! Yeah you are right. Maybe I wanna try some antiphonal texture there, as in b. 443 In the first movement. That’s a great summation! Looks like my worrying of the movement’s disorganisation seems ungrounded. After the end of the fugue I already made some passages. But I have to decide how to transit back to the pentatonics. I originally wanna make a chant section before the pentatonic ending, but maybe I will just make it as short as possible. I don’t know what Henry wanna do. We’ll see LoL. I am so happy for your thorough review. My deepest gratitude for it!! Henry

Yo Peter, Thx for your really thoughtful review! Yeah that’s what I want right at beginning the movement! The first movement ends on high register, so I want to bring the music right down to the lowest register. This is also inspired by Vince, since he reminded me to use the lowest register of the viola which I didn’t in the first movement. Thx! I once worried that I overused the tremolos but now I think it work quite well. Yeah that c minor passage was written after the fugue. It’s written since I wanna foreshadow the sudden C minor modulations in the fugue and also linked to the F# minor passage in b.83 well since I never linked to that passage well until venturing to C minor and slipped to G major. Yeah that’s a reminiscent of first movement’s texture. I quite like this passage haha! Yeah I wanna have the original opening theme in the first movement confronts directly to the disappointment here so the dissonance is stronger. The pizz. Gliss. and Barton pizz. are sudden thoughts but I like them, especially the Barton pizz. Yeah this is my favourite passage of the whole Lamentoso! I feel like I’m really honest here LoL! But this is actually the last passage I wrote. I had zero ideas how to end the Lamentoso smoothly to the transition to the fugue, and one day I thought of ending with a climax and a final lament in tonic key which works! The repeated C#s are a reminiscent of the opening low notes and that artificial harmonics right after it provides good contrast for me! Yeah when I composed the fugue this Lamentoso already had several passages written, so I hope the transition and coherence work well! Henry