Impromptu-Scherzando for piano

Hello,,

Here is a piece, which I wrote several years ago. I think that I posted it before (without score). I have now revised the piece and also include the score.  I have added a simlified version of bar 25-26 for the r.h. My piano abilities are only moderate, and I am not able to play the original (better) version. This is something for the accomplished pianist. I am interested to learn what you think about it.

What a cute composition! I really enjoyed. You have written a very interesting and nice music. The melody is expressive, the construction is clear and logical. I would like to listen to another your things.

On 10/17/2019 at 6:30 AM, Alexx said:

What a cute composition! I really enjoyed. You have written a very interesting and nice music. The melody is expressive, the construction is clear and logical. I would like to listen to another your things.

 

Hello Alexx

Thank you very much for your encouraging words.  I had a feeling that this piece was rather solid, but since I did not get any further comments, other people may have a different opinion about this (which is OK with me).

I posted a number of pieces in the old forum, which are all lost, so I may post them again as well as some other things.

I also liked a lot, the number of comment doesn't reflect the quality of this piece ! It reminds me a little bit Mendelssohn's style (maybe I'm wrong ?)...

I definitely agree with @Camfrtt. This is very well put-together and quite reminiscent of Mendelssohn. It flows beautifully! Superb job, Johan!

Great job!

On 10/23/2019 at 11:09 PM, Camfrtt said:

I also liked a lot, the number of comment doesn't reflect the quality of this piece ! It reminds me a little bit Mendelssohn's style (maybe I'm wrong ?)...

 

Thanks a lot Camfrtt för your comment. Interesting that you mentioned Mendelssohn. Actually, I did not have any thoughts about Mendelssohn, when I wrote this piece. But then, the works of the great composers are always in the background of my mind.

About the number of comments: Well, if a piece does receive very little or no inputs , it could be due to the fact that the piece is not interesting, or too mediocre for people to spend their time on writing comments. But then, as a consequence, this does not create an incentive for the composer to post additional pieces on the site.

And I should add to this (as has been pointed out before): Of course, everyone likes positive comments! However, the main thing is to get a constructive feedback, i.e. to get an opinion on what and why you like or dislike a piece. But for many people, the overwhelming  importance seems to be to collect as many "likes" as possible. This is a clever, but deceptive trap of the internet culture.

On 10/23/2019 at 11:15 PM, Tónskáld said:

I definitely agree with @Camfrtt. This is very well put-together and quite reminiscent of Mendelssohn. It flows beautifully! Superb job, Johan!

 

Thanks a lot Tónskáld for your comment. Mendelssohn again? His style must have been in my mind somewhere!

On 10/24/2019 at 2:00 AM, J.Santos said:

Great job!

 

Hello Santos,

Thanks for your comment. I am glad that you liked it.

9 hours ago, panta rei said:

Thanks a lot Camfrtt för your comment. Interesting that you mentioned Mendelssohn. Actually, I did not have any thoughts about Mendelssohn, when I wrote this piece. But then, the works of the great composers are always in the background of my mind.

About the number of comments: Well, if a piece does receive very little or no inputs , it could be due to the fact that the piece is not interesting, or too mediocre for people to spend their time on writing comments. But then, as a consequence, this does not create an incentive for the composer to post additional pieces on the site.

And I should add to this (as has been pointed out before): Of course, everyone likes positive comments! However, the main thing is to get a constructive feedback, i.e. to get an opinion on what and why you like or dislike a piece. But for many people, the overwhelming  importance seems to be to collect as many "likes" as possible. This is a clever, but deceptive trap of the internet culture.

 

 

Far be it from me to insinuate that you are inspired by Mendelssohn, your piece just reminds me his "atmosphere", which is a genuine compliment... I assure you that this piece isn't mediocre, and i know how the lack of reviews can be demoralizing! I loved particularly the transition to the major section at bar 44. Overall, the harmony is truly mastered, I don't see any place where there is a fludity issue. If I would have to do one criticism, it would be about the end of the piece. I find the descent too simple to conclude... 
Hope I'll hear plenty of pieces of yours in the future.

This is an excellent work. You are clearly very skilled. My only thing to say about this is perhaps, instead of diminishing bar 100, you could lead the music to a big crescendo and for each clef double the octaves. But this type of music is far from my specialty and so I am by no means an authority over the choice you have made here.

Many thanks, hope you continue with your work!

20 hours ago, Camfrtt said:

Far be it from me to insinuate that you are inspired by Mendelssohn, your piece just reminds me his "atmosphere", which is a genuine compliment... I assure you that this piece isn't mediocre, and i know how the lack of reviews can be demoralizing! I loved particularly the transition to the major section at bar 44. Overall, the harmony is truly mastered, I don't see any place where there is a fludity issue. If I would have to do one criticism, it would be about the end of the piece. I find the descent too simple to conclude... 
Hope I'll hear plenty of pieces of yours in the future.

 

Hello Camfrtt

Thanks again for your comments and your compliments. The ending of the piece? Well- I just felt that a simple ending was adequate. Fine (and fun for me) if anyone has a different view on this.

19 hours ago, Markus Boyd said:

This is an excellent work. You are clearly very skilled. My only thing to say about this is perhaps, instead of diminishing bar 100, you could lead the music to a big crescendo and for each clef double the octaves. But this type of music is far from my specialty and so I am by no means an authority over the choice you have made here.

Many thanks, hope you continue with your work!

 

Hello Markus,

Thank you very much for your comments. I appreciate your suggestion about bar 100, but I am sorry to say that it does not appeal to me. The descending scale in bar 100 starts off with an accentuated ff, and runs in decrescendo towards p. This provides a smooth transition to the phrase in bar 103-106, which is actually a modified repetition of the initial theme in bar 1-4, (you probably have noticed this). The repetition is a kind of “echo", to suggest the approaching end of the piece.

If I would adopt your idea, it would announce that something very dramatic is to be expected. I would then have to get rid of everything which comes after bar 100, and replace it with something else.  In principle, this would be possible, but I am afraid that the piece may lose cohesiveness.

Another thing, about doubling the octaves. I would find it very awkward to play this in (semi) legato style without pedaling (a skilled concert pianist could probably do it). Staccato would be easy, but that would not be nice.  

I was very pleased to read your comments, because it forced me to think a little bit more why I did the different things.

1 hour ago, panta rei said:

Hello Markus,

Thank you very much for your comments. I appreciate your suggestion about bar 100, but I am sorry to say that it does not appeal to me. The descending scale in bar 100 starts off with an accentuated ff, and runs in decrescendo towards p. This provides a smooth transition to the phrase in bar 103-106, which is actually a modified repetition of the initial theme in bar 1-4, (you probably have noticed this). The repetition is a kind of “echo", to suggest the approaching end of the piece.

 

If I would adopt your idea, it would announce that something very dramatic is to be expected. I would then have to get rid of everything which comes after bar 100, and replace it with something else.  In principle, this would be possible, but I am afraid that the piece may lose cohesiveness.

 

Another thing, about doubling the octaves. I would find it very awkward to play this in (semi) legato style without pedaling (a skilled concert pianist could probably do it). Staccato would be easy, but that would not be nice.  

 

I was very pleased to read your comments, because it forced me to think a little bit more why I did the different things.

 

 

Sure. I was just thinking of some works by Chopin, especially his concerti, and one memorable moment is when there is a such movement, albeit chromatic, leading to a dramatic grand cadence- A marvelous, hair raising moment. 

You clearly know what you’re doing though 😉