Henry Ng Tsz Kiu

Hi @Martynas123 ! You expand each phrase of the Diabelli Waltz with different variations so it's not just one variation there! I would rather use each of the element for one whole variation instead of using 3 different elements in the same variation. Thx for sharing. Henry

Hi @elmarad40 ! It does sound chaotic and dark to me esp. with the vocal line. I would want the ending to be more affirmatively dark instead of just ending halfway in D minor, probably 1 more climax before ending with an affirmative perfect cadence in D minor. Thx for sharing. Henry

Hi @MinGry ! I will continue with my comment. In the 2nd mov, there's the same issue with modulation as in 1st mov, which is you don't have the dominant preparation for the new C major before getting into the key in b.15, as mere repetition of a key doesn't signify the modulation. The harmonic progression for b.16-23 is I-V-IV and then back to I, which is not in the style with the V followed by IV. The IV will be better substitued by a ii-V. For the 3rd mov, the rhythmic drive is nice. B.12-15's bassline and b.68-69 RH have too many parallel fifths which will be out of style. The contrasting G major passage can end in perfect cadence before going back to tonic C major. Thx for sharing! Henry

I've also read from several orchestration books that the lowest register of a double reed instrument including oboe, English Horn and Bassoon are all more difficult to control, and it's much more difficult to play lower than mp in the low register. Given the ethereal mood of the piece I agree with your treatment to use English Horn instead of 2nd oboe. Also I think it's quite common to have at least 1 Englisn Horn in every orchestra so I think that won't be a big problem in practice. Henry

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Hi @MinGry ! It's a really good attempt on a Classical sonatina style and I think you capture the style. I think for the 1st movement you can pay more attention on voice leading and harmony. In b.12 the G major melody is played on top of a C major chord which would be out of style. I think the modulation to G major in b.13 is not successful because you don't introduce V/V before modulating, you are only repeating the G major chord and suddenly have the music enters G major. Usually the music either have V/V chord before getting to V, or have an imperfect cadence ends with a medial ceasura before going to the dominant key. Forb.30, 32, 34 and 35 I will have F# instead of F natural of the semiquaver figure. Thx for sharing and I will check the remaning movements. Henry

Hi @Some Guy That writes Music ! I am not gonna comment anything on scoring or engraving since it's my so weakness and @MK_Piano will comment on that anyways lol. I have zero experience in arrangement too so my following comment is merely subjective. I think the beginning can really be accompanied by a harp. Will you think of having the piece in C minor? Then the violins can play the melody with the lowest G, and I think that will be stronger than the viola melody unless it's played by its C string. i personally would want that intensity of tone with the lowest string of either violin or viola given how beautiful Sibelius's melody is, but it's just me 😛. I actually think of having the b.33 melody played by English Horn AND cello as well as I love the high register of cello haha. I think for the catastrophe in b.45 polyrhythm can be introduced with some triplets and sextuplets (and possibly quintuplts too) beneath the semiquaver figure as to capture that effect in the original piece. For b.59 I actually think of the melody played a single horn as in Brahms' 3rd Symphony to capture that solitude, since strings is always used before for the melody. Thx for sharing this arrangement! Also, thx for introducing this piece, it's fxxingly beautiful! Henry

Hi @Alex Weidmann ! To me this one is a fascinating work and I agree this one would be better in an orchestral setting when there are so much color available. You are very good at creating etheral color with the winds and harmonies as always. I love the color and timbral contrast brought in b.18; I'm not sure whether it will be difficult for the bassonists to play the wide leap though as I'm not familiar with the instrument. There are lots of really high notes for the strings: will you add artificial harmonics and con sordini to them as well? I think it will make it sound even more ethereal and mysterious. Really enjoy this one, thx for sharing! Henry

Hi @L.S Barros ! I enjoy this piece! Will you add a Pavan before it too? Henry

Hi @Carl Koh Wei Hao ! What a wonderful piece! I really enjoy it! This would really make a very good salon piece. The atmosphere is well created. I love the piu mosso parts which is clearly very idiomatic and Chopinistic! I also like the modulations in the middle part, especially the false recap in Gb major in b.163 and a magical return to Eb major in b.191! However I agree with @Grant Weep that the climactic phrase in b.198 should sustain longer, and then have the return of the A part in b.204 to be in a louder dynamic with more exciting rhythm beneath. I love that piu mosso in b.219! Thx for sharing this wonderful piece! Henry

Hi @MrBelegro ! The xylophone is well chosen for nostalgia of childhood! I think you can add some melodic parts to the piano as well, and on top of that xylophone can play 4 notes at most at the same time so it can be an accompaniment as well. Some countermelodies can be added too to allow an interaction between xylophone and piano. Thx for sharing! Henry

Hi @ferrum.wav ! I like the fast section in the middle, and I do think the composing technique is up to your standard of your past works. However I don't know why but I have to agree with @Some Guy That writes Music and @MJFOBOE that the piece is a bit monotomous to me. Maybe it's about the colour thing: previously your marvellous works are all orchestral pieces so there are a lot of colour to play with, but in chamber music setting you have much less color to change and have to focus much more on the overall structure of the piece. Although one thought is that the repetitveness and monotomy of the piece represents how the daily life works. It's my subjective comment of course and nitpicky tho =.= Thx for sharing! Henry

Yeah I sang it in a school choir… a freakingly fascinating experience! The piece is basically about the wheel of fortune… how different things appear in life and how the fortune destroys them all without mercy, without preference, somewhat like Lao Tsu’s Tao.. Henry

I think this one is really cool! I’ve sung the piece before and this rendition is really exciting! Henry

Hi Jean @Krisp ! I have left a few words in Youtube, and I will reiterate here that I love your orchestration! To me it's more like an orchestra playing in a chamber setting which gives different contrasting mood in different passages. The use of harp definitely makes this one a lovely romantic lied. The subject of this lied really reminds of the film "Last Year at Marienbad" when the male protagonist insisted in recognizing the female protagonist, who always refuted it. All the harmonic progression in the piece well serves the narrative structure and mood change of the poem, and to me the most magical touch is the end-the narrator admits he never truly knew her and the chords ends on a suspended B minor chord, while the fantasy continues in the harp and other instruments. This heavily reminds me of the ending of Dichterliebe when the narrator and singer abruptly ended his singing by "sinking to the Rhine" and the music continues with the piano. Truly magical touch here. Thx for sharing! Henry