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Thank you for the comment! I am glad you liked it, indeed it has more of a melancholic flavour. I have also been told that it is reminiscent of Satie's Gymnopedies, and it must be the meditative style I'm trying to get. I wasn't sure which key would be the most appropriate to be honest, I wrote it in F minor at the end but what you are saying makes more sense. I could update the score. I am glad you enjoyed it : )

This is like the perfect description I think. Even I think the exposition was lacking in clarity and coherence and so I tried to tie in together the piece as a whole concept except of concentrating on individual qualities which make up a sonata. It has been a while after I composed this and you're right. Sometimes it feels like the music is just there for the sake of cycling chord progressions like the introductions of the first and third movements without having an everpresent theme. I think it was experimental although I can't remember why I composed it that way. I was obsessed with the idea of the theme just emerging out of nothing just like how a "Phoenix" rises from the ashes just like nothing. So that explains the unconventional exposition. That being said I do acknowledge that this sonata has instances which could have been made more interesting. Thanks for listening!

The first thing that strikes me as strange in watching this score video isn't really about the music. I just don't understand why you establish the key signature of F minor to then switch to G# minor. Ab minor (besides being the butt of a cruel joke about a minor falling down a mine shaft) isn't really that bad. If it were my piece I would prefer to use flats for as long as possible since they're already part of the key signature and the piece is tonal. If the piece juxtaposed more distant tonalities next to each other frequent switching between flats and sharps might be excusable. Having Cb's as part of the piece isn't a pet peeve for me - just be consistent. Speaking of which - later on in the piece you do use flats more exclusively and the piece looks that much better for it. What irks me in the beginning is that you could have easily avoided lots of double sharps by just notating the piece using flats. Now about the music. I feel like your greatest strength is your treatment of the thematic material in the development section and with all the canonic imitation. The weakness of the piece is in the lack of an adequate exposition. Very often in the beginning it feels like the music is just marking time and cycling through chords without an everpresent theme to guide the progression. That's really what's holding it back from being a very lucid and more involving listening experience. The exposition sections of sonatas usually have the task of introducing the listener to thematic material which is why they usually err on the side of simplicity. The development on the other hand, in contrast to the exposition, has more free reign to be complex and explore different keys and variations of the thematic material. But I feel like your piece has this relationship sort of backwards where the exposition is too complex to really hook the listener and have them commit to the concept of the piece. The development section on the other hand has thematic material inside of it that is treated in an expository manner rather than using developmental episodes and sequences to create complexity and harmonic interest. That's just how I see the piece though. The themes themselves are nonetheless entertaining. Thanks for sharing!

Thank you very much for the detailed feedback. To answer you questions, the Allies theme begins at 3:44. I'm not surprised the piece sounds like it was composed on a keyboard, because it was, using only the one Roland sound module. The German theme isn't introduced until 6:15 and builds to its transformation to the Nazi theme, climaxing at 7:25. I used older German themes to inspire me away from the typical polka marches, though I suppose I can hear the Russian possibility. Thanks again for the feedback.