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In addition to the excellent points @Tónskáld have made, I'd like to add that I feel like there's a bit too many doubled octaves, esp. in the right hand. They sound good on the piano! But I personally feel they lose their lustre when it is used too much here. It also makes textural variations really difficult, since it's quite hard to write any counterpoint when the hands are stuck playing octaves! I'd write the second theme in C major without the octaves, for example. Have you finished writing? It's an excellent piece of music already from what I've heard, and I'd love to hear the completed version. It'll stand extremely well as the 4th movement of a full piano sonata, I think.

@Markus Boyd Thank you very much! I'm grateful you enjoyed the work and I thank you for subscribing. I hope to post a lot more soon ;) @Quinn Thank you very much for you comment! About the fugue, I used a single theme, however I came up with a scheme to use all 8 instruments in a contrapunctal setting: Each pair of instruments (Violins 1 and 3, 2 and 4, Violas and Cellos) enter and stick together. That is, the 2nd violin introduces the subject, and the the 4th violin the answer. After they both had it's appearance, they start playing in a sort of free canon. In a way, they become intertwined into a single voice. Then, the violin 1 and 3 do the same thing, then de cellos, then the violas. That's the exposition. Ultimately, I end up with a four voice cointerpoint that is doubled canonically, which allows me to have the sound of an 8-voice counterpoint without necessarily having to write an 8-voice fugue. About the rhythms, I guess this is one the main aspects that drive my music. I feel like you can almost get away with anything if the notes that are being played are being played at the right time. Emphasis on right time. Rhythm is just so powerful in driving music forward! Thanks once again for your very thoughtful comment! All your thoughts were really insightful to me :) @PeterthePapercomPoser Thanks for your thoughts and comment! It's always great to read that someone enjoyed your music :) I haven't notated any Bartok Pizz, but there are quite a few FF and FFF passages that might give off a close result.

I have absolutely nothing to add, but I wanted to say I find this very evocative indeed. Actually, just thought of something to add . The language of this work sounds very fresh, yet very antique in a way. I don't know, I couldn't exactly place it in time if I wanted to. It doesn't sound old, nor new. This is in no way a problem, it can even be a huge upside. But I think if you wanted to explore this language further, you could maybe find something that would make it undeniably contemporary. Undeniably you. I don't know, it's a complex subject. Once again, this is in no way a problem. But because I like this piece so much, I kind of hope you'll discover a whole universe while watching this night sky you've created. I would certainly like to listen to each of its individual stars.

I don't think there's a right or wrong answer here. I listened to the live recording — the transitions to C major are effective and convincing, so I would say it's fine to leave it as is, at least from a structural perspective. (If you have meaning / symbology for each key signature here, by all means change it.) Didn't notice. Although you played very rubato, and the tempo changes are not notated in the score, so it's possible the outcome wasn't what you wanted. From the casual listener's perspective, it sounded fine. The best way I think would be to tie the notes outside of a tremolo, followed by the tremolo notation. Something like this: Let's start with the musicality of the piece. Harmonically and rhythmically, the piece was quite mature. You are not afraid of time signature changes (when necessary), and know how to get around from one key signature to the next. We stayed within the modalities (C minor, C major, etc.) long enough to establish familiarity — a very important concept in music. As mentioned earlier, the transitional passages were effective and organic, not forced or contrived. The music made sense. There was, however, a notable lack of counterpoint or contrary motion; this produced a driving effect that never lessened throughout the life of this 10-minute piece. In other words, your harmonic movement was mostly parallel. (This was typically upward. The passages that had downward movement were usually not harmonized [e.g., mm. 44; 337 - 341], although there were a couple exceptions.) Of course, this doesn't mean the piece is poorly crafted! From this listener's perpsective, though, it became a bit too repetitive — despite the agressive nature of the movement. A couple brief pauses and a meno mosso section (or two) would have served this movement well, in my opinion. Part-writing. This is definitely an exciting piece to play! There are a lot of block chords here to really give the fingers a grip on the piano. It's fast and it's furious — a great combination to impress an audience! I did note that you relegated accompaniment almost exclusively to the left hand. There are maybe two passages where the ol' mano sinistra gets to play the melody; otherwise, it's left making octave leaps up and down the bottom half of the keyboard. Now, certainly lots of well-written piano music looks like this (many Chopin waltzes and polonaises come to mind), so it would be wrong of me to criticize you for so doing. However, I would point out that melodies can sound just as cool with accompaniment above than below. Something to think about if you weren't already aware. All things considered, this is an accomplished piece, and the issues (if they were even that) I took were mostly stylistic / preferential in nature. Fantastic job, and I look forward to the rest of this sonata! Best, Jörfi

Hej, I would like to present my new composition. It was not so easy to find the pianist, who could play it. But I suceeded and found a very talented Anna, who played it exactly as I wanted. Maybe for some of you it will bring some peace or reminescence into the hearts. Kind wishes, Tomasz