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Trio sonata in d major for two violins, cello and basso continuo. Written in the mid/late italian tradition. I found the time to write a little soanta. Playback uses Oboe sound for better sound quality. I. Grave 2. Allegro 3. Adagio 4. Vivace Please tell me what you think

Hello Guillem, This is a very good piece of music. I love your musical ideas. For me the style is a mix mid italian, late german and some rokokko/classical twists. Very interesting. You have a strong themes. I really love bar 41 - 45. The choir entry 44 is very german. My only critic is the following: - The modulation to man theme in minor could be smoother - You could have used more counterpoint and imitation with your themes. - Where is the text? 🙂 As i said, i really liked your theme. Very majestic. I think it fits "Cum Sanctu Spiritu". I could not help myself so I made a little tune of your theme, with text, and a bit more counterpoint and imitation! 🙂

Pertinent to this topic, I happened to pick up one of AngelCityOutlaw's comments on a different topic (Elitism in music, about which I choose to read only a limited number of posts and didn't watch a video apparently embedded in the root post). I think he has much relevant to say. "The growing majority of people who come out of music education today wind up writing inane, abstract conceptualism like he did because this is praised by the professors. Maybe not always literal serialism, but abstract conceptualism all the same. It's the exact same, and actually worse, in the visual arts. Look at how fast JJayBerthume's music went to hell after he graduated. He was a better composer when he was 16 and self-taught!" Seems to echo my thoughts about college and "degrees in composition." Edit: There's a possible case for an artist to produce work just for their personal consumption - those, maybe, who enjoy the process as much as or more than the result but with no intention of revealing anything to anyone else. But much is about attempting to communicate something to others. There are kind of 'sense data' rules about communication, aside from it being a science anyway involving semiotics and information theory, however loosely. One rule is that for a communication to succeed there must be enough common language between transmitter and receiver. Neurophysiology enters the equation too. Much contemporary music falls flat because that common link isn't there. Gets more complex when there are 'receivers' able just to listen without comprehension but stimulated to some kind of acceptable experience. I haven't a clue what they're saying to each other but the blackbird song on a warm May evening I find most pleasurable. Some listeners perhaps are happy at that, the sound of traffic or a building site are as edifying as a piece of serial music. '

This is a disappointing remark. Frankly, I would hope a moderator would exercise better self-restraint.

I just gave your piece a listen and read along. A short summary: M. 7: This cadence does not really work. The i7sus4 is neither suspenseful nor consonant, just jarring. This is exacerbated through your bass movement, jumping from the minor seventh between g# and f# into a perfect eleventh. No style I know would use this movement to end a section. MM. 9 ff.: Weird chromatic movement, ending abruptly again MM. 13 ff.: s. above MM. 17: An almost pleasant Cmaj7 on the second beat MM. 21: Almost climactical, but Emin6 - G#minadd9 crashes it yet again MM. 23 ff.: Off to an interesting start(nice rising figure topped with an apoggiatura), only to go wrong again MM. 26 - 49(fin): This does not work at all Now, not to leave without proper constructive criticism, I might add: I skimmed through other works of yours. In your Fantasy for Violin and Piano, you mostly manage to deliver a coherent(although very diatonic experience), leaving odd jumps aside for a second. Your Concerto Sketch does this even better, despite being just a sketch. The beginning up to M. 7 works quite well. MM. 12-21 are also fine. Elsewhere, however, it is really disjointed. Especially the second half is just odd, the ending coming out of nowhere. What I think you fail at is subverting expectations: Instead, you introduce nice ideas and then go off the rails, leaving the listener behind. Maybe you should try your hands at a smaller, simpler form. This piece does neither work as a sketch nor a fully-fledged work.