Henry Ng Tsz Kiu

but the late quartets are exactly the things that came at the near end of his life. They are his last published compositions! And for me they are his best works, more so than the Ninth and Missa Solemnis. Kovacevich always plays Beethoven well. His op.110 playing is the greatest of all, so powerful.

My repertorie now (with links of my favourite recording): My original exam pieces would like to play but get bored by them: Bach Partita no.6 Debussy Feux d'Artifice Beethoven Piano Sonata no.32, op.111 Now I'm practicing these: Beethoven Piano Sonata no.31, op.110 Beethoven 32 Variations in C minor, WoO 80 Beethoven Diabelli Variation, op.120 My Own Piano Sonata no.3 @Chemathmusician0510 wow your repertoire is amazing! Henry

Since I have shared this on discord, I must also share it here to earn a reputation point: It's funny as a satire and have me laugh as fxxk as always. Kubrick's use of Classical music is always so good!

Nice Heroic Polonaise! I always like the Nocturne in C sharp Minor in the film The Pianist too, even though it may sound like a cliche now when it’s played too much!

Late Beethoven is always my all time favourite for me. Those late piano sonatas, late string quartets, Symphony no.9, Missa Solemnis, Diabelli Variations, late piano bagatelles are for me the most humanised and at the same time most religious in a humanistic way music for me. They forget that music is written for soul, which they don’t admit we have and they indeed don’t have one. For me even pop is better than many of the contemporary “serious” music. They are much more authentic and touching the soul than those outward sound chasing organised sound “music”, which is just organised sound but never cultralised and humanised sound. Henry

I almost forget to reply to my own work lol… For me in that two bars they are not too melodic for me. I don’t have any purpose there as I wrote them in fury and I think the fury does show in the passage. I don’t wanna pretend to be melodic all the time if my intuition doesn’t feel like it! For me music should be melodic if it should but shouldn’t if it shouldn’t, but how to determine whether should or shouldn’t, that’s the question. I love b.39 passage too! For me I deliberately leave the b.89 heavy because it’s a false recapitulation with a second inversion chord return. The melody is not ready at all because the agitation isn’t released at all, and hence the music erupts again in b.93. B.105 is more stable, at least the texture is less thick, but still quite unstable with the chromatic undercurrent. In b.126 I wanna express that the protagonist’s mind (which is, my mind) invaded by his imagination of a better world, hence the melody is interrupted and filled with those pentatonic fillings. That’s personal interpretation though. I don’t play b.138 as tenuto though, but thx for liking it haha! For me in b.142, just the top E feels empty so I added the G#, it yeah that’s personal. And thx for your very valuable suggestion! Lemme respond to them: 1) Maybe it works, but I prefer the present one without an F#, and it’s personal 2) For me I want the distraction to hint that the melody is not peaceful at all with the C natural disturbance. The augmented chord in b.16 is my favourite chord too! And for b.12 I’m the same with you! 3) Maybe because the chord is a minor seventh in its first inversion, so it has that particular sound. I was more thinking the voice leading there though by having the bass moving down to A#. It’s a parallel fifth too, though less apparent with a contrary motion. 4) I think it’s bar 20 right? I left out the A of the middle voice because having it with disturb the descending chromatic voice leading, and also I wanna have the line sung. But again this is personal. Thx so much for your really detailed review Jonas! I really appreciate it!! Sextet

Hi Peter, I like this too. The counterpoint is as great as usual. But like @chopin said I think the microtones here is not as effective as the Microtonal Sonatina in F#. In there the microtones add flavour which matches the satirical atmosphere there, like adding soybean sauce to a steamed fish. But here it's more like playing an out of tuned harpsichord with a normal Baroque invention, like adding soybean sauce to a deep-fried fish. I don't know why but that's how I feel. Maybe beause the invention form is too formailzed and forced us to relate it to Bach's invention, while the Sonatina doesn't. Thx for sharing! Sextet

Hi @UncleRed99, Sadly Henry Ng Tsz Kiu never exists anymore, at least at this moment... We wish him all the best and hope he can finish the Sextet asap so he can return.... For me I would modulate in b.27 to dominant B minor, but that's Mr. Sextet's choice and it's personal. Epic!! The modulation to G minor I can recall now that it sounds like Richard Clayderman. The whole piece sounds like him. Your instrumentation really enhances the atmosphere of the piece, especially those cello moments. Thx for sharing Kyle! Sextet

Hi @林家興, (Don't ask me why I can type Chinese LoL!!) This one is quite enjoyable to listen to. It's funny and light-hearted waltz. Even though it's a easier dominant B it would still need some skills to incorporate that note to every bar without making the piece forceful and unnatural, so congrats for that. Thx for sharing. Henry

Hi @JorgeDavid, I quite enjoy this one with the simple but sorrowful melody. The mood is portrayed well with the simple prelude E minor like accompaniment as mentioned by @PeterthePapercomPoser too. Thx for sharing. Henry

Hi @semotivo, This fugue sounds quite nice with all those rhythm. Thx for sharing. Sextet

Hi @user011235, I like the joyful attmosphere here! One thing I like most is you really make use of all four instruments in a chamber setting. They have their melodic parts and interactions. Apart from what @Markus Boyd suggests, I think you should include modulation in the piece when the piece is around 2 minutes long! It's amazing to write this in a few minutes though haha. Thx for sharing! Sextet

Hi Peter, I don't know how this one is related to Henry Ng Tsz Kiu's (oops I can't @him) gorgeous Sonata movement, but los geht's! Maybe the polyrhythm or the motive of fourth? B.34 sounds like b.56 of the movement. Listening this I start to know why Schoenberg thinks he writes like Mozart. I feel like listening Mozart here. The fun, texture and energy sounds like him. But it's a Mozart tainted by microtones. It sounds really funny listening this one! It's that by the famous Henry btw? But for me at least in this Sonatina it adds the ridiculous and sacarstic flavour in an otherwise more naive piece, and I like it! Thx for sharing! Sextet