Emiliano Manna

Delicious! You surely know well the rhetorical elements typical of Classical style. Bars 17-18 don't sound totally "right" to my ears: perhaps I'm missing a third repetition before the closing bar.

My silly Christmas project: the too-famous German Carol Stille Nacht with an obbligato twelve-note accompaniment :D Some liberties used by serial composers occur here, like series manipulation and one note-group repetition, and the last two bars are obviously tonal. Merry Christmas to all!

Thank you to both! Maarten, yours is probably the greatest compliment a composer could ever receive!

I return after a long hiatus caused by study (and the recent pc destruction :D ) I tried to write a short melodrama for piano and narrator on the famous poetry by Giuseppe Ungaretti (you can find text and translation in the description of the video) treating the narrator in the classic way, with a rhythmically free part using only some strong syllables as a matching point between piano and voice (as opposed to, for example, Rzewski's rhythmical treating of the speaking pianist). I consider this a small-scale experiment: I'll try to arrange in this way Keats' Ode on a grecian urn. I don't know if this is the right section to post it: sorry if I'm mistaken!

A truly humorous work: it's not easy to fit the bill! Measures 5-6 and similar are impossible to play without rolling the LH: I would cancel a note for not losing momentum

My submission, a short piece for String Ensemble based on D flat - D - G - B flat (and their enharmonic equivalents)

In his brief video with JWPepper (https://www.youtube.com/watch?v=lpnQNOe9LJ8) Eric Whitacre comes up with a nice little idea: Composing a piece that follows these rules: no longer than 60 seconds using only 4 notes (in every octave, I think) written in less than a day having something to say Have a nice time! :D

The piece is wonderful. You have quite a great command of the quasi-Schubert harmonic language of the first half of the XIX Century. IMHO, the Flute writing is a little bit low and could be easily overwhelmed by the piano, especially in fast passages (very difficult!): the ideal range is the octave above the Treble Clef

Very good piece! It reminds me of early Scriabin in Brazilian sauce :D The rhythm for me is fine, I hear 3/4 throughout. Cool work! We want to hear the other Preludes!

Thank you for your always detailed commentary! I was thinking to a palm-mute but, seeing some examples at http://www.music.indiana.edu/department/composition/isfee/ , I now understand your point. In future writing for the Horn, I'll definitely use mute more sparingly.

A little three-movement piece for Horn and Piano. In fact, more Sonatina than Konzertstuck :D Not being a brass player, let me know if there are any scoring inconsistencies for the instrument!

Interesting work! Reminds me of the very first romanticism, i.e. Onlsow, Hummel... It lacks a definite melodic direction but it's very well conceived harmonically, and grows after the first listen. I appreciated the score quality: which software did you use? And which fonts (both text and music)? Greetings and compliments!

An interesting work, I like the modal flavor. In my opinion the piece exploits too much the lower, muffled register of the instrument and thus sacrifices the fuller upper register. Nonetheless a great work! Which program did you use for the score?

More than atonal, the little piece is in fact tonal (B minor, although not marked in the score for an easier reading) and very chromatic, with occasional bitonal moments when the texture leaves the unisono figure. Thank you for listening!

My humble submission. Happy new year!