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Thank you, maybe I should just notate 'legato' but those lines indicate small melodies... Thank you for your compliment. Thank you for your attentive listening and comment. I understand you expect afterwards something. I was also thinking to extend it, for instance more movements. I can hear something pizzicato afterwards too with the same idea. I guess it needs more indeed, one expect energy to transmit in something else... It just has begun... I agree sometimes the line breaks but I actually like that. I think it makes for a pleasant surprise, but that might not be for everybody. Maybe if I compose more it can become its own thing, its own logic.

Definitely no problem with the key! I would use A clarinets as it's fairly standard practice to have them for sharp keys. The horns often won't use key signatures anyway, so it wouldn't make much difference other than a few more accidentals in the parts (which horn players are used to). You could consider using trumpets in C, which are again standard as sharp-key trumpets! I think this orchestration could turn out really very nicely. aMC

The last chord sounds to me like a pre-conclusive chord. It sounds as though the tension has been brought to a head and after a brief pause should be resolved to a "tonic" on the next chord. That's how I hear it. The idea for the piece is pretty neat. There are however some loose threads (so to speak) imo. The 1st Violin has a high B eighth note in measure 6 that sounds interrupted and like it suddenly skips to that D more than an octave below. It's quite a discontinuity and sounds like the melodic line is suddenly cut off there. There are other places I think where such things happen although not as obviously as in this case. Cool idea though! Thanks for sharing.

This is a beautiful score (for me). I think you used the mode in all the voices, in a free way, creating clashes and consonances in a lyrical way. I think the expression slurs are no the best way to notate the legato (in the strings).