Luis Hernández

A very beautiful and sensitive work. I also find it harmonically rich. A good technique to intermingle the melody with the arpeggio. The sound is a bit muffled and strange, it seems to be a direct recording, isn't it?

It sounds really delicious. The baroque counterpoint is fantastic. I love that you like to compose in that style. Sometimes there are fugues that “tire me out” but sometimes the opposite. Of course, I don't get tired of those of the great composers, haha. This one either, to be honest. Regarding what has been said about the tenths, I think it is common practice (and one of the difficulties in the interpretation) to cross the hand notes, although it is not indicated in the score, probably because in baroque the clarity of each voice predominates, not so in romanticism where these things are noted due to the density of texture. Greetings.

I have been reviewing the perpetual or infinite canon technique. It is described here if anyone is interested: https://komptools.blogspot.com/2025/03/canon-infinito-i-infinite-canon-canon.html The truth is that there are not many examples in the repertoire. I'm interested in trying to incorporate the technique in other types of compositions. I have written quite a few, looking for ways to take advantage of the material. So, for example, in this canon I have added additional voices. In the first pass (10 bars) the canonic voice at the lower octave starts two bars later. In a second pass, the first two measures of the lower voice are added, which are the same as the last two measures of the upper voice. This can be repeated in a loop indefinitely. But what I did on a third pass, is to add an upper voice throughout the canon, and a bass voice in the last measures. The compressed score is this. In the attached pdf I have “unfolded” it. Omitir en primer pase = Omit in the first run Voz superior solo en tercer pase = Upper voice only in the third run Voz inferior solo en tercer pase = Lower voice only in the third run

Hello Sounds fantastic. A good example of a material deriving into something else very different.

I am not very familiar with Schubert's specific style. But this musical moment does take me back to that pure romantic period without the later great development. I like the contrast between the almost choral part and the rest, which has a melody that has stayed with me. I also like the chromatic bass in some measures, as a cadenza (measure 2, 7, etc). Although the one in measure 13 sounds stranger to me, perhaps because the chord is left in suspense, and resolves into something more unexpected. Something that I think is frequent in these composers. A beautiful piece Greetings.

Yes, I understand the intent of the strings. Perhaps, in a case like this, where they have a predominantly harmonic support role, I would have opted for fewer lines (here there are five in the strings if I'm not mistaken). But it's a choice, of course. I seem to recall Rautavaara doing something similar in the Piano Concerto No. 3, and it's fascinating. That musescore function is very handy, the program I use (which I'm very used to, doesn't do it and I have to put the videos together myself). I usually put here the two versions, the video-youtube version, and the pdf with mp3. If I don't upload the video, then only pdf + mp3. Everything is fine.

For me, the 7th,

A great piece. It is emotional, with a piano that is not too complicated but enriched by the strings. It would be nice to put the instruments on the staves at the beginning, although it is obvious when it starts to sound... The video format is very good especially when it is well edited, as in this case. The pdf is better when you are interested in analyzing something or parts in detail. I think they complement each other. My only observation is that the strings have a rather “passive” role almost always, as harmonic support or doubling some melodic line of the piano. In the G part, for example, there is some sketch of independence of the strings.

A surprising work. The pace is a bit frenetic, although it calms down and contrasts a bit at the end. I think the ostinato rhythm of dotted eighth notes predominates for the most part, but I do find that there is a lot of variety. At measure 189 it is clear that this is a tonal cluster. I've never seen it noted this way before but I don't see a problem with it. The piece runs very smoothly and the transitions are great.

Quite an emotional piece. Despite its brevity it sounds “progressive”, a bit in the Wagnerian idea of pulling forward all the time.

Thank you. I tried to do something for fun but also to practice a bit of basic orchestration etc.... When organising the piece what I did is to group the voices sometimes by registers (mixing timbres) and sometimes by orchestral families. Greetings.

The dark atmosphere at the beginning is well achieved with the background of the “tremolando”. The change to a much more contrapuntal part from about 2:10 is very opportune, and I emphasize here the transition from one to the other, which is something that we often neglect, but in this case is perceived without abruptness. There are super rich and very different textures, as for example from measure 95. An unexpected and pleasantly new evolution from measure 147, with some very interesting harmonies at 153..... (I had to stop to see what was really going on there!). Nice surprise with some “advanced” techniques like those beats and portamento. The truth is that the passage from one theme to another is very fluid. Good climax up to measure 197. I find the fugue very beautiful. I am always surprised by fugues based on subjects of short duration. It reminds me of those very contrapuntal pieces that I like so much (Metamorphosen by Strauss and Verklärte Nacht by Schönberg). The part from measure 754 is amazing, it sounds like an organ. Congratulations for such a huge and beautiful work.

About double flats... It's just the chord Eb dim7 = Eb - Gb - Bbb - Dbb

I wrote this for fun and exercise. Thank you.

A great piece. At first it sounded more like an oncturnoe, but the fact that the left hand pattern repeats all the time (except occasionally), eventually turns it into an ostinato or something similar. It does seem to me that the piece is long enough to rest in that ostinato for so long. Although it works very well, except perhaps in more “intense” parts from measure 32 to 41.