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Thank you Daniel and Tónskáld for your detailed analysis, will pass your feedback to my son to incorporate them in his next composition. He normally does solo composition and often creates melodies and practices on Piano without writing in sheet music. He has started taking interest in compositions involving multiple instruments. Your feedback will help as he is not doing any music classes and my advice is limited to basics like mood or tempo of the music. School summer holidays are coming up and he will get time to put his compositions into sheet music.

As a point of clarification, this would be a piano quartet, not a quintet. 🙂 I really like your son's musical ideas here. The minor keys are typically more difficult to navigate, but your son has done a marvelous job constructing phrases and transitions that take us quite convincingly to each section of the piece. I agree with everything @Omicronrg9 says concerning the piano and the pedal string parts. (For example, if I were a cellist, I would be bored just playing staccato quarter notes for the entirety of this piece.) Here are some things that might need to be changed. First, the viola has no need to use the treble (G) clef in this piece, and I would put everything back in the alto (C) clef. Second, he has the cello part playing fortissimo (ff) in some places while the other instruments are at quieter dynamics. This needs to be revisited, as well, or the cello will sound out of place in an actual performance. Third, the piano's left hand could really use more movement. It looks like it just doubles the cello (or vice versa) with quarter note after quarter note while the right hand gets the actual workout. Not much fun for a pianist. Not to worry, though; all of this is easily addressed with more experience. Thank you for sharing. Wishing your son the very best!

Loved the beginning M(1-4) and the piano accompaniment up to M16. The melody doesn't convince me too much but it's a matter of tastes so nothing to worry about. The D major variation that comes after that sounds better in my mind and its ulterior development that leads to a sort of B section in M32 is very enjoyable, specially just before M46, though I do think that those last bars could have got a bit more of intensity by summing up instruments instead of having the piano as the leading voice and the strings as pedals, but it's good anyway. My favourite part is probably the one between M46 & M56, your son made a solid comeback to the first theme there. I am usually VERY nitpicky with endings, but I have nothing to say about this one, I liked it so much. Congratulations :). Kind regards, Daniel–Ømicrón.

My stab at this well-posed question. The only instrument I play to any degree of public performability is the piano. I have had the good fortune of premiering many of the pieces I've written, though not in strictly formal settings, such as a recital or workshop/festival. Writing for piano is definitely what comes easiest to me (I think), and I can typically play what I write. If written for piano, yes. I also keep a violin and viola close by when composing for strings so I can work out fingerings and bowings. Aside from that, I rarely use the piano as the rendering for my non-piano music. Closely related to the above. For the piano, yes. But I don't like relying on the piano for musical ideas for other instruments. I'll use it maybe to set the "key" and grab some thematic elements. The violin/viola are my go-to for any string-related themes. All of the other instruments I have to rely on software simulations. I've collected most of Spitfire's Symphonic Orchestra libraries over the years and have been largely satisifed with the results. I use NotePerformer for the "first pass," and have been very pleased with how it performs. If an orchestral work isn't likely to be performed, I'll "professionally" render it using SSO — but that often takes longer than composing the darn thing in the first place. (I hate rendering. I hate it so much.) For the most part, yes. Although nothing can substitute the interpretations of an actual, live human performer. Everything I compose is written with this in mind. Not that I expect everything I write to make it into a performance hall, but it never hurts to be prepared!

This is quite beautiful, tranquil, elegant. Fine writing for the piano, as well. I appreciate how you shared the melody between the hands — hand crossing always makes a piano work more interesting to play! Your dedicatee is very lucky to have such a wonderful piece written for him (and so are we to be able to hear it)! Thanks for sharing!

casel LI is a living nomad and poet turning musical pieces and atmospheres into film soundtracks by traveling the world from volcanoes to rainforests, from rocky coastlines to urbanized jungles, a variety of sounds and ideas will merge into songs and compositions leaving the regular patterns of life, challenging his existence with constant uncertainties, his music is a reflection of this journeys enjoy listening here