Hello everybody,

I posted this two weeks ago and had little luck with getting any feedback.

I'm posting it again just in case some did indeed not see the post passing by and had therefore no chance of replying if they wanted to.


"Hello everyone

I usually only post (and critique) chamber and symphonic music here, but this time I opted for an exception.

I recently published my 8th piano album, entirely composed and performed by myself. My technique is far from excellent, so I hope you'll excuse it.

I began composing it around Christmas time and by late May I finished recording it. It has marked an important stylistic passage as I'm now moving into modal harmony, at times modal in a medieval sense (in more recent works) at times in a jazzy one. I've put into this work almost all of my inspiration sources - there's playful counterpoint, minimalistic patterns, varying harmonic and arrangement styles (from blues to romantic to folk), rythmic games, comedic quotations and often erratic/unusual structural thinking.

I understand the size of it may be threatening to approach [25 pieces running for 80+ minutes], but for this reason I split the album into three sections or "sub-albums" which you can find described in the video's description, with their exact time stamps for reference.

Any form of comment, critique, no matter how broad or precise, specific to a piece, a passage or generally covering the entire work's flow is more than welcome, as I felt I poured as much creativity as I had into the making of this album, from start to end.


Thank you very much in advance"


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  • Hello there Valerio,

    Lack of feedback could be about duration. 81 minutes is quite a big ask of people especially since you've already published the album which suggests that, no matter what people think, you're happy with it. Plus, 81 minutes could stretch into 110 by the time comments are formulated. Besides, I couldn't work out what kind of critique you wanted. You didn't provide a score. 

    All I can say from listening to the first 5 minutes is it's nice music but I wasn't happy with the Left Hand staccato octaves against that never ending RH ostimato. It seemed stuck in the same key much of the second half (track 1).

    Many of us who also practice instruments, have work, study and family to attend to, couldn't afford that time unless it's just playing in the background. I'll listen to something up to 15 minutes duration because with typing up comments it could become 30 minutes and if looking through a score, a couple of hours.

    Good luck with it though. Here's wishing you all the best.

    • Hei Dane,

      thank you for answering.

      Yes I am aware of the task required by listening to this work, and that is the reason behind my mentioning a further division of the album into several sub-albums, each of them running around 20 minutes. I understand the busy requirements from daily life which this forum's members experience, and which I share too as I am a fellow human who goes to work - I would indeed like to emphasize my post was not a complaint about lack of feedback aimed at pushing uninterested members into listening (I would and could never, as we're all masters of our own interests) but rather a way to keep the work's visibility span alive a bit longer for those members who, like me, alternate their presence over time and may not catch new works right on the spot.

      Thank you for passing by



  • I listened to some of this when first posted but didn't get round to posting a comment. There's a lot of varied stuff here of differing levels of attractiveness for my taste. One which I particularly enjoyed is "Nothing to Worry about" with a higher level of nostalgia, modulation, emotional content and quite simply fantasy than some others which seem to be more relentless or minimalistic (i.e In Severed Height) or fugal.

    Many of the numbers have quite odd titles and I'm sure it would be helpful to get some insight into the programme behind them -- that might well help appreciation of some of the more "difficult" pieces to my ears. The overall impression is of a substantial achievement here.

    • Hi David, thank you for passing by

      Yes I can imagine the attractiveness of the work may vary from piece to piece as it spans a plethora of genres and styles. I'm glad you appreciated some of them.

      Regarding the odd titles, many of them are puns that reveal to some degree the structure of the piece. Some other times they're simply a picturesque representation of what the piece painted in my mind. The following is a rough list of the titles' programme:

      1) As if I Awoke [Half of the title track; the other half is the last piece]
      2) Nothing to Worry about [Simply the pieces' mood, in my eyes]
      3) Invention in C What I Did here [Pun between "Invention in C" and "See what I did here", as the 2-part invention in C shown in the beginning abruptly changes into something completely different]
      4) Nine Years [Piece with personal meaning]
      5) Sun without Worlds [Pun on "Song without words", as the piece was more melodically structured than the previous, like a lied ohne worte]
      6) The Cunts there Fugue [Pun on Bach's Art of Fugue, german Die Kunst Der Fugue, as I use the #1 Fugue from the quoted work and entangle it with some blues-based counterpoint. It is, however, not the sole quote of Bach's work in the piece: "his" no-longer-credited minuet in G minor (now attributed to Petzold) shows up as well in the second half of the piece]
      7) Aborted Counterpoint [As the title suggests, there is an intention of counterpoint as the initial theme is played around on itself, later to be abandoned and reprised as a joyous blues/jazz ballad]
      8) In Severed Heights [Pun on the pieces' main theme, which is built on 7/8 metric. In Seven Eights -> In Severed Heights]
      9) Serial Breakfast [Pun between cereal and serial; the piece is a simple harmonization of a melody which solely consists of a twelve-tone scale played up and down, as in serial (dodecaphonic) music]
      10) Yet More Severed Heights [Sort of a continuation of In Severed Heights, although in a different metric]
      11) Modal Search: Prelude and Fugue [Here begins a trilogy of not-so-serious modal-harmony-based counterpoints with a common theme. The "Fugue" is not strictly respected as a form, though]
      12) Phrygian Weather [Pun on "Freezing Weather" and "Phrygian", indicating the mode the piece is composed in]
      13) Modal Search II: the Search for Moats [Second piece in the "modal search" trilogy. Pun on "Search for Modes" and "Moats"]
      14) The Sky King [Piece with personal meaning]
      15) Modal Search III: Search Terminated (We Found the Moats) [Third and final piece in the "modal search" trilogy]
      16) Warm Up, We're Going to Hell [It began as a warm-up exercise for my hands, I later decided to keep it and expand it]
      17) And the Doors Opened, and We Stepped Outside into the Light [Personal, visual idea given by the music itself]
      18) Wooden Staircase in an Endless White [Personal, visual idea given by the music itself]
      19) The Cringe Realm [Personal, visual idea given by the music itself]
      20) Uncanny Relics from Outer Space [Personal, visual idea given by the music itself]
      21) The Decipherment of Hittite [I was simply reading about the decipherment of cuneiform-written Hittite language in the days I composed this]
      22) Another Cringe World [Personal idea given by the music; also a pun/tribute to "Another Green World", an album by Brian Eno (one of my most beloved composers)]
      23) Mentally I Live Here [Personal idea given by the music]
      24) Here Ends the Album [Lyrics-explained]
      25) From a Thousand Dreams [The second half of the title track, which is at time connected to its first half]

      Thank you once again for your attention, I hope this will help you approaching the work

      • thanks very much for this -- it will certainly help in further exploration of some of the pieces.

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