Grand Fantasy after Motifs from the Operetta "La Partita", Op. 26 (IMPROVED AUDIO)

Link to the fantasy: musescore.com/...
This is a new video score + audio created by ‪@HSscores‬. Please check out their awesome channel and service at • [#GetYourRecording] I... . They can create highly customizable and realistic recordings by using a virtual piano and computer like this one.
Piece description:
This is my grand fantasy after motifs from fellow Musescorer Francesco Zigliotto’s operetta “La Partita”. So, first things first, please go listen to the original operetta ( musescore.com/... ), not only because it is absolutely gorgeous, but you could also gain a better understanding of my fantasy.
The reason I have decided to make a fantasy on this operetta is that it is really rare for a composition on Musescore to have such high quality and production value. After listening to it the first time, I was really impressed. Therefore, I hope I can pay tribute to and popularise the operetta through my work.
It is important to note that while the themes and motifs presented in this fantasy are originally Francesco’s, they are presented here in completely new contexts. Hence, this piece could be regarded as a complete reimagination of the operetta.
The innovative harmonic usage is certainly the highlight of this piece. For example, in measures 56 and 57, one of the chords used (D-Eb-F-A-C) is a combination of the dominant seventh chord of G minor (D-F-A-C) and a diminished seventh chord [Eb-F#(Gb)-A-C]. This not only enhances the tension of the music right before the release (hence making the subsequent G minor chord more satisfying), but also prevents the piece from becoming too bright (as the latter section is a funeral march).
Another highlight is the thematic combination at the climax from measures 453 to 474. This session combines two of the major themes presented in this fantasy, hence creating an exhilarating yet satisfying climax near the end of the piece. Personally, the chorale-like coda of the piece is also my personal favourite. I have used drastic modulations and distant key changes to create the feeling of triumph one will feel after winning a chess game.
Structure of the piece (references to the original operetta is stated in brackets):
Measure 1 to 17: Part 1 of the introduction; based on the turn-like ornamental motif in the overture of the operetta (measure 2 of the original operetta)
Measure 18 to 68: Part 2 of the introduction, transitioning and building-up; based on Motif 1 (measure 62 to 64 of the original operetta)
Measure 69 to 87: Theme 1, funeral march; loosely based on Motif 2 (measure 26 to 31 of the original operetta).
Measure 88 to 95: Theme 2 (measure 132 to 141 of the original operetta)
Measure 96 to 103: Variation 1 of Theme 2
Measure 104 to 114: Theme 3 (measure 49 to 61 of the original operetta)
Measure 115 to 118: Transition
Measure 119 to 128: Theme 4 (measure 62 to 75 of the original operetta)
Measure 129 to 149: Transition and climax, based on Motif 3 from Theme 2.
Measure 150 to 166: Variation 1 of Theme 1
Measure 167 to 177: Variation 2 of Theme 2
Measure 178 to 186: Variation 3 of Theme 2
Measure 187 to 205: Variation 1 of Theme 3
Measure 206 to 229: Transition and climax, based on Motif 1.
Measure 230 to 242: Variation 4 of Theme 2
Measure 243 to 249: Variation 5 of Theme 2
Measure 250 to 263: Transition, based on Motif 4 (measure 141 to 142 of the original operetta).
Measure 264 to 275: Reprise of part 1 of the introduction
Measure 276 to 280: Recitativo, cadenza, and transition.
Measure 281 to 296: Theme 5A (measure 218 to 231 of the original operetta)
Measure 297 to 310: Variation 1 of Theme 5A
Measure 311 to 320: Theme 5B; loosely based on Motif 3 and Motif 5 (measure 160 to 162 of the original operetta)
Measure 321 to 324 Variation 1 of Theme 5B
Measure 321 to 330: Transition and cadenza
Measure 331 to 335: Theme 5C, loosely based on Motif 4.
Measure 336 to 356: Variation 2 of Theme 1
Measure 357 to 364: Variation 2 of Theme 3
Measure 365 to 375: Transition, based on Motif 5 from Theme 4 and Motif 3
Measure 376 to 398: Transition and climax, based on Motif 2
Measure 399 to 407: Variation 6 of Theme 2
Measure 408 to 415: Variation 7 of Theme 2
Measure 416 to 425: Theme 6 (measure 286 to 301 of the original operetta)
Measure 426 to 452: Long transition and build-up, based on the motif of Theme 4; also references the transition from measure 129 to 149.
Measure 453 to 474: Climax of the whole piece; a thematic combination of Theme 2 and Theme 3
Measure 475 to 489: Part 1 of the coda; based on the motif of Theme 3
Measure 490 to 502: Part 2 of the coda; a chorale-like section with drastic harmonic changes; referencing the heavy chords of part 1 of the introduction.

[@shishirthadani1696]

Very Impressive!!!

[@supasayajinsongoku4464]

if this was written by Liszt i could already imagine the 1000s of virtuoso pianists almost in a race to champion this gigantic piece, we would be talking of the "golden age" pianists in reference to this brilliant (albeit computer generated) interpretation of this brilliant piece. Bravissimo!

[@niccolomaldera]

This is amazing. You are very talented. It would be wonderful if you explained something about how to construct these opera fantasies, maybe in some videos. Moreover, I can't wait for your Fantasia on Un ballo in Maschera!

[@alexandrebeauharnais6849]

Bravo🎉

[@jannis11]

Naice

[@Kyujar.png49]

Is 16:06 a Reference to Liszt's Reminiscences de La Juive?

[@stevenwanyhcomposer]

Good ears. It is a reference to the La Juive Fantasy with the interlocking chromatic octaves followed by a broken octaves section.

[@Kyujar.png49]

​@@stevenwanyhcomposerI noticed this because the page looked so identical and the text is the same lol