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I'm especially in love with the opening material. Definitely a good example of Yiddish style (with a tinge of gypsy thrown in). It almost reminds me of Fiddler on the Roof. After this opening, you seem to blend Copeland and Stravinsky very well. I love it. Look forward to hearing more.

🙂 awwww. I hear great things from you so I can't tell that you're not! 🙂

I said it because I feel that often the parts I like the most in concertos are the ones in which you can't hear much of what the soloist is doing because it kinda hidden behind the orchestra. You could add some virtuosic passages beneath those notes at the top. At least that's how I felt this passage being used, of course not the only way that it might.

Well built crescendo at the beginning. Nicely melody taken by the oboe and reinforce with basson and the remaining winds. Good climax again from 44 to 52, although the ascending scale in the two final measures is a bit "standard". It goes on with the strings and timpani adding winds in other theme, very nice. It changes to a quieter manner with contrast. Beautiful rising and fall with the vibraphone taking part. Final rich part, rhytmically. I like this piece very much.Tension-relief..., perfect. Interesting melodies and rhythm Why is the clef in "contrabajo" (double bass) with that "8". I think the strings are overused a little bit (the never stop playing), sometimes it's part could be transferred and adapted to the brass section. Nice nice job.

I was going to say a few things, but @KJthesleepdeprived sumarizes it well.

I actually enjoy this a lot! It's so sweet sounding and delicate. I know this is tame by your standards but it really hits a sweet spot for me. Your modern style makes a strong appearance alongside the more conventional harmonies (AKA the ones I'm used to hearing). It's clear where your preferences lie. You seem to thrive in that world of atonality, but these tonal passages are definitely not boring. They're really good! There's such skill and refinement in your music that I'm amazed you can feel uncertain about any of it. But I guess even if you're super knowledgeable it won't change those feelings and doubts we all seem to share as composers. Regardless of that, I think this is really cool!

This definitely has a haunting feel to it. I'm surprised by the harmonic language (you struck me as a modernist, for some reason, lol). The piece sort of has a caged in vibe to it. Like, you're wanting to venture more into the avante garde, but you're holding yourself from taking the plunge. You can definitely tell theres a static, stationary feel to it (stasis) -almost impressionistic in a way. Ironically, it reminds me of my final works before plunging into modernism. ^_^