A shadow weeps at the piano, playing a song no one will ever hear. Dead flowers watch in silence wilted and forgotten. This is the sound of almost, of could’ve been. A final goodbye, hidden in a melody lost to time.

The Nocturne You’ll Never Hear (Nocturne No. 1)

A cover of Mahlers Adagietto…. I guess this is what the composer is feeling rn.

Death in Venice (Adagietto from Symphony No. 5)

I guess letting go is all someone can do.

Hate would hurt less

“Keep Moving Forward!!” - Eren Jeager

The Curtain Must Rise

A piece inspired by Rachmaninoff and Moszkowski.

Fantasy

This string arrangement of “I Vow to Thee, My Country”, adapted from Gustav Holst’s iconic theme in Jupiter from The Planets, captures the noble and heartfelt spirit of the original hymn.

Warm, lyrical lines in the violins carry the soaring melody, supported by rich inner harmonies in the violas and a grounded, resonant foundation in the cellos and basses. The arrangement emphasizes the hymn’s emotional depth, gradually building from a soft, reverent opening to a powerful, full-bodied climax before returning to a gentle, reflective close.

Ideal for commemorative services, patriotic events, or solemn concert settings, this arrangement offers string players the opportunity to explore expressive phrasing, sustained lyricism, and unified ensemble playing.

I Vow to thee, My Country

The first movement of Gustav 
Mahler’s Symphony No. 5 is titled Trauermarsch (Funeral March). It opens with a stark trumpet fanfare, immediately setting a solemn and processional tone. Written in C-sharp minor, the music unfolds as a funeral march that is both deeply personal and monumental, reflecting Mahler’s fascination with mortality and the rituals of grief. The movement alternates between grim, heavy tread and sudden outbursts of anguish, capturing the turbulence of human sorrow. At times, moments of lyrical tenderness emerge, hinting at fleeting consolation, but the prevailing atmosphere remains tragic and weighty. This movement establishes the emotional gravity of the symphony, drawing the listener into Mahler’s profound meditation on life, death, and transcendence.

Trauermarsch

Waltz in E-Flat Minor

At The End of the Day, It’s Night
By Zach

At the end of the day it’s night,
and silence becomes the only friend.
Memories flicker like dying lamps,
moments I thought would never end.

At the end of the day it’s night,
the world grows hollow, shadows near.
Love once felt like sacred fire,
but truth can burn much sharper here.

At the end of the day it’s night,
and though the hours beg me to hate,
my heart betrays my wounded soul—
it still calls out, it still will wait.

At the end of the day it’s night,
and even when I turn away,
your name still lingers in my chest,
a ghost that will not fade or fray.

I don’t want to see you anymore,
yet you remain in every thought.
At the end of the day it’s night…
and still, I love what I should not.

At the End of the Day, It’s Night (Nocturne No. 2 in B Minor)

From Symphony No. 5 by Tchaikovsky. This theme is just beautiful.

Moon Love

From silence, a sun is born,
A trumpet to wake the void 
Light tears through eternal dawn,
And darkness is destroyed.

The stars bow low in flame,
The cosmos holds its breath;
Man rises, small yet grand 
A spark defying death.

Through thunder, through the choir
Of heaven’s boundless sea,
He climbs the notes of fire 
Becoming what he’ll be.
- Poem of Also Sprach Zarathustra by Richard Strauss and Zachary Montagner

Thus Spoke Zarathustra: Sunrise & Of the Backworldsmen

Arrangement of Richard Wagner’s Twilight of the Gods Siegfried’s Funeral March for medium orchestra.

Götterdämmerung WWV 86D Act III: Siegfried’s Death and Funeral March

My Definition of Beautiful (Nocturne No. 3 in E-Flat Major)

I compose and play violin. Music is a way how I express myself and it shows what I feel when I compose.

Zachary Montagner

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