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I also thank Siwi ,only for the fact that it has the avatar that represents Bach ...I like him. I try to give my reasons point to point;): 1. The idea was to give the song as a trio, in 6 'of music, there's your reasoning 2. Maybe I misunderstood this point, but the stretti are just as you describe, including canon 3. Divide the parts between the hands is not a problem, having said that I am organist, the song is executable except a point where I left a note by 2/4 (not executable in my kind of record) but it comes just when you turn off one of the parties. Bar 51;) As I said the first point, is a trio ... so 3 parts and no 4. Actually I also have a version with 4 parts per baroque orchestra ... but that's a whole other "story";) > On a personal note, I think your subject could have more rhythmic features, but it works as it is. The subject is not mine, I wanted to enhance it in this way, this is only one version Thank you very much for your attention and time that you gave me, I will treasure from your suggestions that have been moments of reflection.

Thanks for the comment jrcramer, In the first instance I say that not all pipe organs have a pedal wide, including the pipe organ of "my" church ;), but then you basically say that the pedal is often used as an effect, unfortunately I did not invent this thing (the register is full of examples) :( In practice, this technique of using the pedal was then inherited by the piano in the case of a double octave ... an effect to add tension. In my piece the pedal, as well as to "turn off" a voice, serves to increase tension because it increases the harmonic richness and the number of entries. Prohibits anyone to think this song as if it were a trio (and where necessary to use double pedal), depends on which organ we have at hand As for the playbak, a friend lent me the sounds from the library EWQL Platinum ProXp > Love to see someone writing for the organ! If this instrument had never existed I would not be a musician. I am indebted ;)

Thanks for the comment Baarrtek The pipe organ is interesting because it opens different possibilities of orchestration, this is why my score contains an indication of the pedal where it is needed. Referring to the playback, I used only manuals and in my interpretation I prefer change registry to highlight the different parts of the fugue, what would I do with a real pipe organ ... my idea was the German model. The pedal is used only where indicated but I preferred to emphasize the first canon anticipate its use;) I hope I was clear, Frank

A recent fugue, written for organ Organ cromatic-fugue 6' Thank you in advance for your opinions. Frank

I forgot The play-back is executed by strings and not by choir in the first place because I was not able to govern (Adjustment of sound, decay of sounds, other parameters such as "Attack, " "sustain, " "hold", etc. ...I have a headache just to think about it) a great library of songs that advice me a dear colleague composer. ... at end, I decided to give up Secondly, for me this kind of composition have to sound good also even "forgetting" text, in the sense that meticulous attention to the metric of the words and structure text, must not affect on the music content. So, rather than the "classic" sounds midi I preferred to make this choice ;)

One of the five songs in the Christmas mass (Kyrie, Gloria, Credo, Sanctus Benedictus e Agnus Dei). Ensemble: - Chorus (four parts): S A C B - Piano Thank you in advance for your opinions. Frank Christmas Agnus Dei (3' 20'')

Quote word for word Frank

it is unfortunate that this piece did not receive feedback, I listened to several songs of Alexander Gozzo and I think a composer with a good musicality. I am also interested a the metric scanning of the words. Thanks in advance Frank PS I hope soon to publish a Christmas Agnus Dei and I think useful suggestions in this regard