Aria

Back to the galant style, I wrote this Aria using only three patterns: the Romanesca, the Fenaroli... and one that is unpublished because I have "extracted" it myself from a progression that I like very much, and that I have called Le Temps. I also use a familiar theme (I think so).

Concert pitch score.

This is awesome!  My favorite schema is actually the one you extracted - Le Temps.  Where did you find this beautiful progression?  I will refer to your works when I (someday hopefully) hope to study galant schema in as much depth as you have dedicated to them.  The melodies in this piece have a very bittersweet melancholy mood to them that I love.  Thanks for sharing!

@PeterthePapercomPoser

I'm glad you like it.

Le Temps!! wonderful and novel progression...
It was created by Leo Ferré (1916-1993), a magnificent French singer-songwriter.
The song is called "Avec le temps".
This is the original version (there is one with video of him but here is the English translation).

But I recommend Celin Dion's version, tribute to her husband... Touching.

OF COURSE, THEY BOTH DID IT WONDERFULLY.  MY PIECE IS JUST A SHADOW OF THEIRS....

Yes this is for sure beautiful stuff. Originally I think the opening Romanesca schema a bit off with the modulation to A# minor, but after a few repetitions it really makes sense and adds tragic colour and the bittersweet meet mentioned by Peter to the music. I love the half diminished seventh chord in the "Le Temp" schema as well. The half diminished 7th is always one of my favourite chord with its not so firm quality. Thanks for sharing!

Henry

This is how Le Temps is made (in Spanish and in English):

https://komptools.blogspot.com/2023/06/le-temps.html

Lovely!  The combination of the thematic matter and your orchestration make this feel like the score to a French movie.  If this was part of the soundtrack to "Amelie" it would feel right at home.  I wasn't familiar with the song, but it's great!  

YOUTUBE VERSION

This is a delightful little piece.  I like the synthesis of the sort of neo-baroque orchestration with a hint of "wrong note Romanticism" in the melodies.  A particular favorite bit is the unusual orchestration of harpsichord and timpani at the beginning of the Fenaroli, m. 21.