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Welcome back, glad to see you. Love the 4-18 sound you use and how it's voiceled around the piece. Main issue I here personally are some moments of phrasal climax seem undercut by some element, be it lack of submetrical assistance all the way to a sudden texture change. Might also question some of the responsorial textures you have betwen choir and piano (the blend becomes far smoother as the piece progresses); overall though, this is a really nice work.

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The reason that those keys "sound different" is simply because you are making a comparison. If this comparison is removed, one will find that the listener is not affected "emotionally" by the key but rather what you are playing. The other aspect is that with major and minor keys, I'd suspect that what you are perceiving has to do with the overtone series.

The lilting theme in the first movement has a lot of potential. Some of the chromatic suspensions are a bit clumsy (Measure 6 for instance). At first, I thought that was a mistake -but then you do it several times after. Not sure, but that particular passage could be redone to make it less clumsy. Some of your harmonies seem a bit odd (measure 51, third beat: B F# in the right hand and E# with a suspended A in the left). Your restatement of the more lyrical second theme in measures 76 - 89 also seems to be filled to the brim with these odd harmonic choices. This gives a strange feeling to the theme -which I'm not quite sure is what you wanted. In the second movement, I'm not sure the simple trio at measure 34 really serves as a good compliment for the preceding section. In a way, I feel the first movement was too short -and you left many of the harmonic choices unresolved in the previous movement. I was totally expecting a more thorough breakdown of the themes of the first movement. The second movement doesn't quite seem to elaborate or extend the language of the first. I can see that you tried to make the two movements cohesive through the use of the same rhythmic motivic material -but, aurally, that doesn't come through at all. The stylistic change is also too dramatic (the second movement is a decent take on late Rococo and early classical sensibilities... somewhat). Measures 90 - 92 should be omitted totally -or expanded upon. The final section also contains some good ideas. I love the use of the rhythm from the first movement in the left hand -nice work there. I think this movement -also- could be expanded some to further expand your ideas more. You've got a very rich idea with this movement -and I think this is something that you can expand upon to good effect. One final note -and perhaps a bit expansive: I think you've got some great material. And you seem to be attempting a more serious oriented work. I think great care and deliberation should be taken to insure that you are getting the most leverage from your material. In the first movement, for instance, where is the development and why is it so abruptly short? Such rich material... and you've only given it 105 bars? Was that enough to get your ideas across? I don't want to be too critical -and I don't want to be perceived as such. So, I'll get to the point: You've laid down the ideas so far in this W.I.P.... now let's see what you can do with them. Questions a composer would ask next are: What can I do with this material? Where can I take it? How can I transform it? And Finally: How can I present this material, with clarity and cohesion, into one complete opus? I hope my review helps. Some great ideas... show me what you can do with them.