Henry Ng Tsz Kiu

Hi @Alex Weidmann! About this I have a crazy suggestion. Maybe you can just cut out the whole first movement and leave the last 2 movements as a pair, because for me those 2 are better movements, while in baroque style they have modern touches. 1st movement also has its modern touches but is more traditional. Or just keep some passages of 1st movement as introduction, then enters the 2nd and 3rd movement in full. I do feel the emotional weight in 2nd movement and I like moments in b.58 when the soloist really sings. I also like the driving rhythm in both 1st and 3rd movements. Thx for sharing! Henry

Hi @therealAJGS! It does hurt my ears with its loud dynamics lol! Nice sound effects tho and cool music. Like the minor major seventh chord. Henry

Ooh looks like I’m too late here @Cafebabe……. Henry

Hi @Tunndy, The melody does has some Chopinistic influence and I think you should definitely extend the piece! Some of the C natural and F naturals should be B# and E# instead. I have imitated Chopin style long ago and post a piece here lol so you may check that one out: Thx for sharing! Henry

Hi @Wieland Handke! It’s nice to see all those D major passages run into my favourite C sharp minor haha. Nice counterpoint, just beware that some C natural should be B sharp instead. Henry

Hi Peter! With the strong slurs and the microtone it makes me imagine Celery chasing a ghostly love lol! It’s effective but sounds more like the love in the film Ghost even tho there’s “Oh My Love My Darling” there lol. Thx for sharing! Henry

Hello @Mason M! I just listen to the 1st movement. Do you aim at a more classical style or not? I like the light mood here, some interactions between instruments like in b.78 section. The use of the short short long long rhythmic motive is also apparent. Do you try to write in Sonata form or not? Also for me, passages like in b.66 to 68 sound less in style with the parallel 5ths. Thx for sharing! Henry

Hi @Vasilis Michael! Just on the fourth movement it’s funny and full of great modulations, and the mood is light just like many Classical sonatas. On the whole sonata, I think it’s more like an early Romantic sonata with all those more advanced modulations. But whatever style, I like this one. Maybe the next step would be to start finding newer voices! Thx for sharing! Henry

Then you can take some of your time to review my works! They all have scores haha. Henry

Hey Vince, I really like the music and enjoy playing it. I have to say, playing it helps relieve some of my pain during these few days when the fire engulfs at least 156 residents in HK. I love the variety you added in the music despite keeping it simple, for example the dynamics plus harmonic change like in b.20, 29 and 31, and keeping the counterpoint oblique. In my recording during the long phrase in b.11-19 I did add some dynamic changes of my own which is not included in the score haha. Thx for sharing. Henry

I remember you make the same advertisement before?? Is it the same program or not?

Hi @Tunndy, Just beware of the parallel 8ves like those in b.1 between violin and viola (A-G), b.2 (F-G and F#-G!). And those dissonance of minor 2nds like in b.5 wouldn’t sound good as well. Henry

Hey Jonathon @ComposaBoi, I would have commented earlier if not 1) for my consistent illness 2) The tragic HK fire. Very passionate playing and forget all those wrong notes, as the power really reaches me. I will just take note from start to end. The whole first D Major section sounds like a Barcarolle to me with the dominant pedal, and b.3 and b.5 flourishing sounds like Hisashi to me with the dreamy mood. For the b.21 section with that agitato mood I won’t write Lento on it with 32nd notes. I may just augment on the notes by 2 and put an allegro agitato there. Like the solemn and furious F minor theme. I actually find the 2nd subject too short and the triumph arriving too early, and then the breakdown to D minor too early. I love the key changing in your development (for example to C minor), but I do think that left hand triplets motive can be used less frequently, since it sounds a bit predictable at the end for me. I like the Ab major section but again I think you can augment the note value and put an Allegro there. Like that you bring the triumph of the 2nd subject before the fugato. I feel like the fugato here not developed enough just like the fugato in my Nocturne lol. And basically that triplets motive dominates the whole development and maybe you can use a different subject? I really like the Grave Mystico (or Misterioso?) passage with the higher register melody, contrasting the middle to low register used mostly in the piece. I only feel the D Major ending unsatisfied since it’s really unrelated to what happen between. But maybe it’s right here with later movements. Thx for sharing. Henry

Hey Pabio @Fugax Contrapunctus, I really enjoy this older style counterpoint. The subject strongly reminds me of the first subject of Contapunctu XIV in Bach’s Die Kunst der Fuge. May this piece also dedicated to the victims of the Hong Kong fire recently happened. Henry

Hi Peter, Really enjoy this one and it sounds especially calm when it’s much needed. Like Mike noted the two Melodies sound so well together just like any good counterpoint. Adding those flats near the end of each phrase really helps push the climax. Thx for sharing. Henry