Luis Hernández

Would you provide a score?

Of course, nothing compares to hearing orchestras perform live. Dvořák’s style is the complete opposite of Schoenberg’s, including their orchestral works. Dvořák embodies expansive, monumental Romanticism—even more so than Mahler, for example. But atonality deliberately avoids that and aims for conciseness, which is why it doesn’t use large orchestras.

Hello, About six years ago, I orchestrated Schönberg’s Six Little Pieces for Piano. I only uploaded one of them to the “Writer’s Block and Suggestions…” section, since I wasn’t quite sure what I was doing. Now I know a little more about orchestration and how to approach different styles. So I’d like to share the orchestrated version of all six pieces. Thank you. Best regards. Schoenberg.mp3 Schoenberg.pdf

Hello I think this is a beautiful piece. The melodic phrases are truly lovely, and while it doesn’t aim for an overly virtuosic style, it does evoke the Romantic era. I agree with everything @MK_Piano says; I think he has a valuable mastery of the piano and this style. I’d highlight one thing he mentions, which is to really reinforce the overall structure of the piece. Give it a clearer ABA form. I think the modulations are fantastic, but I also think a return to the starting key would give it more impact. I also agree regarding that 2/4 time signature. Rather than finding it problematic—since I see it as justified by what’s happening there, the modulation and “precipitation” into another harmonic region—it’s the fact, as he also pointed out, that it isn’t repeated in the recapitulation. A wonderful piece of work.

Hello, Since the duration of the pieces has been set at around 5 minutes—which I think is very manageable—and I think the evaluation template is great, I’d like to participate, to the best of my ability and based on my knowledge, as a reviewer... Please let me know if that’s okay. Best regards.

Hello It sounds really nice and pleasant. It’s also very straightforward. The harp takes the place of the left hand, and the bass provides reinforcement. The strings accompany the melody, and at times they reinforce it in homophony. I think orchestrating this kind of “flat” music, with few dynamic contrasts, is difficult. But there are many resources in the strings that can be used. I’m no expert at orchestrating either; I’m still learning.

Thanks for the tip!.

That sounds really interesting. Is there a video of @chopin doing something like this that I can watch? I like this idea, as well as the landscape one and the mashup. As for the overall theme, I don’t know—it should be open-ended, right? And as for the duration of the competition, maybe two months at most, so it doesn’t spill over into the next season.

Well, it sounds great to me. It would be best to take a look at the sheet music as well.

It seems to me a very beautiful work. What stands out to me is that it’s conceived more as melody with accompaniment—sometimes quite elaborate—rather than in a contrapuntal style. The second movement is gorgeous.

It’s very beautiful and reminiscent of Brazilian harmonies.

It’s a composition that sounds very harmonious and sweet. I haven’t taken the time to analyze it, but that middle section caught my attention (the key signature change).

If you mean this note... Yes! Better a D.

Oh, I didn’t know the story behind all this. I suppose it’s because Beethoven’s variations overshadowed everything else over time. Your version is very good — I find it has personality and is easy to listen to.

In this case it was about orchestrating the sketch in the image; I might even make a collection of mini orchestral studies with these kinds of things.