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Hi @gmm, I have longed to review this but finally have time and energy to do so! This is absolutely wonderful! I love the rhythmic pattern and the pentatonics very much in the A section. The 5/8 time signature is exceptionally great given how it shortens the usual 6/8 to give a motor if drive towards the whole piece. I love all the parts here. The grand opening, the expressive low register violin theme plus the driving rhythm on the background in section A, the wind theme in section B, the grand colour shaping in section C, the tutti in the piu Allegro section etc, and all these themes are motivically related by the pentatonic scale. For me what impresses me is that you go for very effective affects to be created. In your previous pieces you may take more time to create the atmosphere, but now they are instantly created in the opening and themes’ initial appearance. I love the Piu Allegro theme very much, but for me maybe the transition to it is a bit abrupt since the dynamic, rhythm and texture differ. But that’s subjective in my part, and the contrast is great. The contrast in section G is great, I love your modulations, and since you don’t overuse your brass, the brass theme here appears particularly powerful. I want the theme lingers longer though. The reorchestration of the returning theme are very nice too. I always love horn solos and the combination of piccolo and cello is wonderful with pitchy and mellow sound combined in a weirdly wonderful way. In b. 212 A Tempo the note D is slightly off tune for me. In the marvellous J section I may want the rhythmic motive to be brought out a little bit more, but again it’s subjective, since I think it will move the music more, but there is already trills from flutes so…. It’s subjective haha. I also particularly love the violin counter theme in section K. Even tho it’s a countermelody it’s still under the spell of similar notification contents. This show how coherent and detailed you write. The buildup to the climatic ending, or the whole piece is what I should have taken in my own orchestral writing in the future. Me like @PeterthePapercomPoser aka Paper the Peter Composer finds only one thing to grumble: the low resolution score on YouTube LoL! It’s in high resolution in the drive file but so difficult to look through on YT! Thx for sharing this wonderful music! Henry

We are all busy people. So even if there is a negative comment, at least the work sparked some interest intriguing enough. To be honest there are a lot of posts on YCF I ignore, I just don't have the time and effort to listen and analyse every work here. It might sound arrogant, but as much as music being a crucial part of my life, it isn't the only thing. I simply am not obligated to use my work and study and family time to scroll through YCF. If I ever comment I always try to find things to appreciate and praise before pointing out how I feel it may have problems. If I can't even think of a single positive thing to say, I don't comment (this was not always the way I am, I learnt to be like this with time as I get slightly less immature than my past self) And the way I use web browsers, I am not always privileged to play the voice files on the forum, and I "listen" through reading scores. If your post does not contain a score it immediately reduces the chance I would even touch the composition by that much. I can't speak for others, so I'd be interested if there are other positions.

Hello Among the survey options, I prefer to receive constructive criticism. The truth is that this space is very peculiar. On the one hand it is about something specialized such as composition. On the other hand, it accommodates all kinds of levels, from the amateur beginner to the more or less professional. This is good, although on the other hand it can create imbalances. However, it all coexists very well. Also the people who comment the most, have very different backgrounds and points of view, which I think is perfect. What always strikes me is why people, in general, are not encouraged to comment more. Yes, there is the excuse that “I don't have enough knowledge, etc...” It doesn't work for me. Simply commenting I like this or I don't like that is positive. Besides, to reach something as a composer, even as an amateur, you have to listen and analyze many works, of all kinds. That is what this forum gives me the most, to know the work of others.

Hello all. Here is a short composition for Piano and Viola as the title says. This composition is made for two muscian students at my music school i go to which will be performed later this year I think. Title is still in progress. Any feedback is highly appreciated. Thank you. Best regards. Bjarke.

This is a question I recently thought I'd ask the YCF members. This can go both for what kind of comments you'd prefer to receive from others about your work, or what kind of reviews you like to give to others' topics. If you don't see your preferred choice in the poll, check "Other" and reply to this post!

Thank you as well @PeterthePapercomPoser 🙂

Hi @Bjarke! For me the thing that interferes the most with my enjoyment of the piece is the balance issues between the viola and piano. Very often, the viola part is totally drowned out by the very loud piano part. There are many places where you bring the piano up with a crescendo without a corresponding crescendo to bring up the viola. Since the viola is the solo instrument it should be center stage and the star of the show! I would even go so far as to bring the piano down in the mixer to make sure that the viola is in high relief in comparison. Because if, for example, the piano and viola are playing unison lines like in meas. 99 - 109 then the viola is totally inaudible and swallowed up by the piano in the texture. On the whole I think this would be an enjoyable Bartok-like banger! Thanks for sharing.

Thanks so much for your reply! I would like to mention that this piece is not complete so that’s why many things seem incomplete. This is more so the sketch/preview and not the final product. This is why the orchestration Isn’t the best. The reason some areas have better orchestration than others is to present ideas that popped into my head at the moment of the area being composed. Thanks again!

Hi Pabio @Fugax Contrapunctus, Speaking of the music itself I like your counterpoint as always, but as @muchen_ I would hope the soprano to be more melodic instead of staying in in the same high range! That would also make the soprano a bit tired. I like your modulation too. Pabio, seeing this for did make me feel angry and sad. I didn’t review your pieces simply because I didn’t even review most of the pieces on this forum. I didn’t have the energy and mood to do so. I was having an emotionally down period during these few months and I finally crawled back from it, and then I listened to the excerpts in Tauskin’s excellent music history, this time in volume 3, so I seldom reviewed here. To be honest, I hate to be imagined reasons for my not reviewing pieces. I only share my emotions towards my loved ones because I don’t want to burden others. I won’t stop reviewing at all if I have time and energy to do so, you have to understand. Plus, from my memory you didn’t even review my pieces once. I really don’t know why you request others to review yours, take it for granted, and blamed others when they don’t, while you have never paid efforts on reviewing others’ works. I won’t stop review anyone’s works because we have different perspectives, but I will if I think you are not a good person at all. I’m still angry now when I am typing these words Pabio. I won’t be this angry if I don’t care about you and your works. Henry

Hi @Bjarke, There’s no doubt I like the pace and atmosphere you are creating in this piece. It’s so exciting and I like it. I think you may have to concern the playability of the piano in some places. For me the piano part in b.45-48 and b.114-115 are unplayable at all since the tempo is too quick! Also, the rhythmic pattern in b.14 may not be easily differentiated given how quick the tempo is. The high register of viola could use a treble clef when notes exceed the two ledger lines. Thx for sharing! Henry

Hey Peter, I choose the option "any publicity is good". Of course it would be perfect to receive constructive criticism as this will be the most beneficial. I am forever grateful to @Omicronrg9 @Thatguy v2.0 and @gmm , especially Vince for their constructive criticism on my Clarinet Quintet in C minor, since they help me stay in the forum, explore more and become a better composer. But I know that to write a constructive criticism needs much energy of active listening and attention to detail, it's too big a thing to be expected. I am happy enough to have received any comment since it will enhance its publicity, and it's already less frequent to receive any kind of reply here on YC, since more frequent for members to post rather than reply. Henry

Hi @Gabriel Carlisle! I perceive this piece as well conceived overall! I enjoyed the themes and I think you did a great job extending certain phrases and really milking them for all they were worth usually culminating in a long dramatic emphasis of the dominant chord. The fugato's are a nice touch and overall done well and tastefully despite your recent struggles with writing a fugue. The only weakness is that the orchestration is a bit weak near the end as I would have expected a full tutti orchestration for the end of a scherzo. But you end with what I perceive to be a slightly awkwardly conceived ending for just the string orchestra. Those are my thoughts. Thanks for sharing!