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Hello, This is concerto no. XIV of my Italian concertos for violin, strings and b.c. This piece was written back in october 2015 in the venetian tradition, i have made some very minor chages in 2022. The tile "La luce" transkates to "The light" and its written in the bright key of D-major. 1. Allegro - The light 2. Adagio - The dark 3. Allegro - The light Please tell me what you think.

I'd say if you recently started composing that makes you young at composing. I'm no longer young but not so far from starting too. But it's an ongoing development path so you never get old at it! We all had to start somewhen.

What is the style of this piece? I think the opening melody is quite wide-ranging. jumping from high A to low C sharp and back to high register. The imitation between flute and violin I can be more funny, instead of just repeating the same note. Also the harmony can be more varied with other chords other than d minor, its dominant and F major. I guess this is only the beginning of the piece and can be further developed, instead of ending abruptly here. It can be for sure extended to a longer piece.

I couldn't bring myself to listen to the entire 1 hour however I skimmed through several times and have somewhat an understanding of your compositional ear. I hear good use of melodies with almost quickly or rapidly played scales, sometimes just sticking with something simple or possibly even a main section to return to to make people remember you're Clarinet Quintet in C Minor, however as I'm listening on there's good use of the diatonic chords and you seem to know your way around musically. The introduction almost sounds like it could be the lead to a jazz standard you want to make it something more memorable, just my opinion.

I think both works end quite abruptly. The picardy third in Piano 111 is surprising because there is not great struggle in the c minor passages. For Piano 112, bar 14 and 23, I will change the later half of the accompaniment to G natural to ensure smooth baseline. Also the transition between sections can be smoother. But these two works can definity be extended to longer and larger works! Will you consider changing some of the accompaniments? I remember I also liked to use repeated notes and octaves as accompaniment, but later found it quite boring and not flowing enough.