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The Colossus of Prora Someone who has written (music) something longer than 30 min. The Colossus of Prora is the longest building in the world.

Ccool idea! Sounds like a fun - I like taking a modern melody and giving it an old vibe, maybe reharmonizing or slowing it down with more counterpoint.

The first impression I had when listening to the Fughetta was – huh what a long fugue subject which already covers a kind of development on its own, for example with the sequences in mm. 3-7. Because of its chromaticism, it reminds me a little of the “royal theme” from Bach's famous Ricercar a 6 from the “Musical Offering.” I can well imagine how you had this melody in your mind and developed it into this subject, for example while you were out walking, and that you had to write it down immediately upon your return so as not to forget it. There is nothing wrong with such a long subject. However, creating a fugue from it will be challenging, as the exposition will fill almost an entire page! Therefore, I think it was the right choice to refrain from adding further complete subject entries and to leave the piece as “just” a fughetta, so that there is enough space to play contrapuntally with the material. And this has been achieved excellently, both rhythmically, where the staccatos are contrasted with the appoggiaturas, and harmonically, through the treatment of the chromatic sequences. This once again highlights the potential of contrapuntal composition technique, even if the piece does not necessarily imitate a Baroque style, but is, for me, more contemporary due to the dissonances that I like. (By the way, the key of E minor still remains in the title of your current score.) Wieland

I hope you don't take this the wrong way, but I'm not really sure why you're posting these here. This is a music composition forum, and you're posting lyrics without music. We can't give feedback on them as music compositions. I think perhaps a creative writing forum would suit your purpose better, and would yield better feedback for you?

Dear Cafebabe! Since you really are a „Young Composer“ – I have double checked you profile – and today is your birthday (a special one, at that), first of all, congratulations. Now, to your Oratorio. Without going into detail today, I can only express, that I’ve really enjoyed it! With an overture called “Sinfonia” and an aria for tenor as the second piece, which have this mood and style, I was immediately reminded of Handel's Messiah – perhaps you have already heard it 🙂. Writing an Oratorio is a great challenge, and – if you are not Handel accomplishing it within three weeks – this can be a long lasting, not to say a life-time project. However, don’t think this is a problem. Having such a large, challenging project in mind should be considered as a framework where you can put time after time more pieces into, which has the great advantage that compositions, otherwise produced occasionally, have a place where they are not forgotten or lost. And for that purpose, having a framework which fits different kinds of pieces, the project cannot be ambitious enough. As mentioned in some other comments, the movements can be extended to reach their full potential. But that’s the fun. I’m curious how you’ll proceed in that project over the next years! Wieland

You call the first theme folk melody...that's a compliment; I thought of it as a fugue subject in disguise! There are romantic-era nods as well. In the first movement, the slow intro sounds a bit like Tchaikovsky, and the final cadence is a direct rip-off (well, tribute to?) of the final cadence to C.M.V. Weber's Der Freischütz first act! Different key. It has always been my favorite opera!😉 It is not postmodern, but could that be true in a way? Basically a Nineteenth Century symphony, but has Baroque elements, even some Classical ones. We LIVING composers have the luxury, especially today with everything on the Internet, to be eclectic.

A beautiful piece. I think the subject matter is very original and distinctive. That really helps with the recognition of the entries. The parallel descending movements are very beautiful, with those appoggiaturas, etc., as in bars 19 onwards and later with the reinforcement of the bass. I think it loses none of the essence of counterpoint, but it has many touches that make it sound modern, such as the profusion of articulations. Best regards.

PROGRESS 3 hello, it's been a month. work on finalizing the piece has been dwindling but i'm here to start it off back again!!! this progress is all about the repetition of the A. section. you can see that i tried to variate the accompaniment, most prominently with the active celesta section and the climax at b.329, which is taken from b.180 onward. The counterpoint from that section is now sung by the vocal with a new stanza, which is another piece of the second part of the main theme: from the sky x to y distant light just keeps calling me from the sky aight that's it for now. hope you all enjoyyy

Hello everyone, I recently updated a little draft of music for string quintet on the incomplete works forum and I just developed it into a full piece. After some thought, the section felt somehow like a developed theme, so I composed a main theme by using some of the musical features found in that draft I composed. The piece is an elegy and has the following sections: [m.1~m.9] Introduction -- The introduction was composed by making use of the most important harmonies of the piece: Cmaj, Cminor, Dbmaj and Gmaj. [m.10 ~ m.25] Main theme -- Main theme in C minor. It works as a period but, in this case, both statements end in a half cadence (the second has a stronger modulation to G) [m.26 ~ m.40] Development section (original draft) -- Developmental section which starts with the main theme in Cmaj. This section is repeated once. [m.41 ~ m.51] Restatement of main theme -- second part of the main theme repeated once, this time ending in a perfect cadence (with picardy third in last chord). I think the atmosphere fits the title of "elegy", but let me know what you think! Also, a distinctive feature retained from the draft is the use of pauses that resemble deep sighs (or holding ones breath). I took as much care as possible to make those moments sound natural but the midi sounds showed its limitation in those cases :S. I am thinking on updating it so both violins get to play the melody at some time, doing some voice exchange like that one I did in measures 14-15. Is it standard practice to share melodic material between the two violins in order to create an echo effect and add variety for both performers, even if the melody could be written entirely for Violin I? Also, I used dotted notes for those moments in which they need to cut the phrase a little earlier. Would there be a better way for notating that? As always, every feedback is more than welcome and hope you enjoy it!

This is an aria for alto, flute, strings, and continuo in the late Baroque style. The text is taken from Goethe's Ganymed, and a sample translation can be found here. The form is binary, with the usual closing orchestral ritornello joined by the soloist.

We staff have decided that it might be a good idea to open the awarding of badges up to the members, not just the staff. The staff aren't perfect and can sometimes miss some good opportunities to award badges to members for some of their excellent or distinctive content. So if you feel like you have been overlooked for an award you deserve - let us know! Tell us which piece you think deserves what kind of award/badge and why and we will consider granting it to you. You can also suggest awards for other fellow composers' works! Refer to the following list of manually awardable badges. If a badge doesn't exist for your particular achievement you can suggest new badges/awards in that thread: