• Hi Saul,

    I'm writing my 5th String Concerto now, so I love the form. Just string works have produced some of the greatest music compositions in the whole classical cannon. My 5th is in G minor too. Love it, especially Pentationic G minor.

    It's quite classical. Is this your usualy style? It sounds clear and effective. It has a good form and sounds well written. It reminded me of Haydn's style. That tempo change, which happens throughout, I found it slightly out of place, it seemed to jar a little against the flow of the work, but it did colour the work. The short notes made it sound quite busy, and it was effective; it kept true to its style, so it transitioned well.

    Are there more movements? I sort of felt it could be just one movement, like Felix Mendelssohn’s “String Symphony No.13 in C minor”, “Symphoniesatz”.

    Well done, Saul.



    • Thank you Rob,

      I think that I have different styles, and one of them is this type of music that is reminiscent of the baroque era, I would place it to be more similar to Vivaldi and the other Italian masters than that of Haydn. As for the tempo, I like to keep it exciting and vibrant and as you said colorful so I do some changes with that. I think that I have written enough works in this form and style to be considered a style of its own. But I also compose modern and romantic music.


      So far this piece has only two movements, but its entirely possible to add more, especially a middle section.


      Can you post your music so I can have a listen? Thanks for your comments,


      Best Wishes,



      • Hi Saul,

        Here are three of my String Concertos.

        My aim for all my string concertos is to write music that is forceful, tuneful and direct. All the music on this album is loud, rhythmic and pure musical inspiration.

        While writing these three concertos, I was inspired by Alexander Borodin and Sergei Prokofiev, you might be able to tell.



  • I like the compositional spirit of the work. However, I notice a great lack of control in the form. The first movement lacks breath, the biggest problem it has is that it is a lot of different information without pauses, without points and commas, as well as a lack of contrast, which causes auditory exhaustion.

    I liked the second movement much more than the first, there is more control and it has more pauses, it breathes a little more, but not enough, it doesn't give us time and space to digest the information, for me it's still like an improvisation. It starts with a clear theme, but later everything is blurred and then there is no room to digest it.

    As the saying goes, "less is more". With Beethoven, for example, you can see that he usually has only two themes, he varies them to death, but you still understand that there are only two themes, for example in the first movement of the Fifth Symphony. Here I can't understand the themes because there is no time to digest, no pauses, no semicolons, no breath, it feels like 1000 melodies. It is like a display of improvised instrumental virtuosity, without seeking cohesion or form, which is not at all typical of symphonies. This is more like a concerto, although it would need a contrast between the virtuosic parts of a concerto and the more cantabile parts. I would have liked to hear that contrast between cantabile and virtuoso in these pieces, it is something that brings not only balance but grace.

    I see potential, but I see a lot of work ahead. These pieces remind me a lot of when I first started composing, I had no control, I did everything with my heart and spirit high. Don't stop composing because you have potential and talent.

    • Javier,


      If you read Rob J Kennedy's review of this piece you might have noticed that he said that the piece is:

      "Quite classical", "It sounds clear and effective". "It has a good form and sounds well written".

      Basically his review is almost the exact opposite of yours. 

      It is very interesting how different listeners would react to the same piece with such polar opposite opinions.

      But when I do publish a work on the web or elsewhere I like to believe that I want to keep a certain standard of value and a certain level which I will consider to be artistic.

      The first listener to be impressed by the music would have to be myself. As an artist, I have learned to trust myself and my opinion as to what I would value as art.

      This came from experience, and not on a whim. I have been composing for a long time since my teenage years. And I learned from that experience to think carefully about what may be valued as a piece of art and what I may discard. This level is not achieved overnight but by trial and error and constantly trying to improve and grow as a musician.


      Don't get me wrong. I don't mean to suggest that everything that I post here is a masterpiece, of course not, far from it. But as an experienced musician I believe that the music that I post reflects a certain standard and value that many musicians here and elsewhere found valuable and enjoyable. And this is very rewarding that some musicians can connect with what I create. 


      I don't know how familiar you are with my music in general but I have composed a substantial amount of music and many of them have lots of control and form. Actually I was criticized more than once about how controlled and form oriented my music can be. It's not that I have a technical difficulty producing controlled works that have a strong emphasis on form, it's just that in this particular work it is not present as much. But to my ear there is a logical structure and sound to the piece, though it may not be as obvious as some of my other works. You made it sound like it's not present because I can't produce music that is controlled. I gathered that by your suggestion that I should continue composing because I have potential and talent. That's all very nice, but I will not end or continue composing because of potential and talent. I compose because I enjoy composing and also sharing my work with others.

      If you want some examples of works that I have composed with a great sense of control and form let me know and I'll gladly send them to you.


      It is also important not to make a generalized opinion about a composer solely on one composition. 


      All my comments here do not suggest that some of your criticism is inaccurate, but the way you presented your criticism comes to be a little patronizing.


      I don't blame you that this was done on purpose, I have no reason to believe that you meant it to be so. I'm only pointing out that that's the way it appears.


      At any rate, Thank you for your comments, and Thanks for taking the time to listen.






      • I have already heard some of your piano pieces, which are very beautiful and well done, but coming to this specific style/language, is where I see the lack of control. You can have mastered the "English" language and know nothing of "Spanish". I would say the same, this piece/s requieres more "breath" because It gets exhausting. It's like words, what happens if I talk to you with 1000 words without using commas, pauses and that?, it becomes a mess and you will understand nothing at the end.

        • Javier, I would advice you to listen to some of my other string symphonic pieces. This piece is not a reflection on all my other string music. Perhaps it is too exhaustive for your taste, but you may find that it's not so with the other pieces.


          Glad you enjoyed my piano music.





      • Yes, I understand, you make really great pianistic music. When it comes to a symphonic style, an orchestral style, strings in this case, the pianistic, or solo virtuoso style is not that good. It's good when there are solo parts (solo violin) contrasting with orchestral parts like in a concerto. Keep up the good work! (I didn't realize that you made that beautiful piano music honestly.)

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