Leaderboard

Thanks a lot, Sebastian, for your feedback, I agree with you that that the piece consists of several more or less “stand alone” themes, which is not really the structure of a sonata. I can only explain this by the fact that the various bits were written at very different occasions. I definitively should have done a better analysis, and changed the endings of these themes in a less abrupt way. I can imagine that the dance motif starting at ms 129 can be perceived as a bit odd, but at the time, I just could not resist to incorporate it. But I should also say that I made a number of efforts towards integration and interlinking. At ms 145, I brought the music back to the main theme, but then I wanted to recur to the crescendo of ms 32 in a new way, which I did via a series of modulations and finally ending up with the crescendo again at ms 159 , after a rapid key switch to B-flat minor in ms 158 . I was rather pleased with this. This contrasting escalation is for me the most dramatic point in the piece (although it arrives rather late in relation to ms 32). In the ending (a sort of coda) starting at ms 161, there is a strong relation to ms 36, but then, after a short escapade in a classical way, there is a jump to a surprise, Jazz-like harmony ( definitely not Schubert or Beethoven-ha-ha), and I needed a few measures to come back to the original F-sharp minor. I was also pleased with the last two measures. A “bravura” ending would have been misplaced. But you are right about the left hand. Some Chopin-like jumps? Well-yes, perhaps, but certainly some more switches of the melody to the lower register. I will leave it for the moment (I am working now on the second movement), and will take up your suggestions at a later occasion. Thanks again, and best regards!

There a lot of moments where the tension rises along with the volume which are my favorite moments in this. The flute is nice and smooth as well.

2nd Horns in m. 5-12 are too high. The notes are playable, but not easy to reach and the effort required for them really doesn't suit the tranquil mood you're going for there. If it were a transposed part, those notes would be no problem, but in concert pitch I would recommend anything above C on the staff be used very sparingly. Otherwise, I don't see any big issues. I could tell there was a gap in time between writing the beginning of the piece and the ending, as it seemed to me like the music got better as it went along. While I agree that there are some issues with the flow of the piece (This is one of the things I most struggle with in my writing), I think you built to a respectable climax once the piece started to find its focus (somewhere around m. 60)

Everyone has blind spots because we are focused on something else that we think is more important. That's why it's necessary to have impartial listeners. If you really like to write music, then you owe it to yourself to take lessons with someone. It doesn't have to be composition, just piano. You will learn so much!