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In terms of both contrapuntal devices and overall character, I would say that this fugue, composed almost a year ago, is among my best works, to such extent that, in my opinion, I haven't yet been able to outmatch it in any of my latter compositions. Enjoy!

It's interesting to put the chronology of your piece into the "About Me" Section. I take that idea and do one myself. It's also because of that I discover your first post here. I only listened to your 1st Piano Sonata in C minor, so I will just review it first and review the second one later. The main issue here the structural problem and coherency of the piece. I think the piece can be renamed as Sonata quasi una Fantasia to reduce the problem. I think the issue identified by @SSC fair, especially under the genre of sonata. I myself will think sonata as a narrative genre with underlying narrative structure. The appearance of motive should be incorporated to the structure to provide coherency, favourably in sonata form. Sometimes the reappearance of motive doesn't provide the coherency, either within itself, or within the interactions between themes and motives. But I also know that your style is to have the music's affect and emotion happen right at the moment, and I also love that too since that's what I cannot compose. That's why I think the title "Sonata quasi una Fantasia" more appropriate, instead of just an ordinary sonata. I would also like the bar number reset during the beginnings of each movement. That will be more clear. I think the motives of the first movement easily recognizable, and I enjoy how flowing it is, even though there's no clear direction, thus making it like whirlwind. I only find bar 107-108 quite awkward. I love how dense the second movement is, and the opening wave is interesting. For the third movement, that's my favourite movement. I think the up an octave sign of the treble clef not clear enough. I think some of them can have indications of up an octave lines while others are not needed. But it is really cool, especially the cold and cruel harmony. Is the theme in bar 261 borrowed from the second movement of Schubert's second piano trio? That sounds familiar for me, and I love it. I also love the use of left hand melody in the movement, so deep and introvert. I will look through your second piano sonata once I have time and energy to do that! Kind Regards! Henry

Very impressive fugue! You have a great theme and sense of counterpoint. Love the ending as well, a good break for the fugual texutre. Where you really shine is in your episodes. My only cirtic is: - This soundes baroque, is there a reason for that key? - I agree with Luis, the reason why your episodes are perfect is because you dont overuse the counterpoint, its mor immitative and calm. The rest of the fugue your counterpoint is very heavy, draw some inspiration form buxtehude 😉 Overall great work, im very impressed

No words can tell how great this fugue is. Terrific contrapuntal writing! This is something that I cannot achieve at the moment.

I enjoyed this piece a lot. The subject is very catchy and has personality. However my overall feeling is that there is a high dense texture. I thin this is because the three voices are in the score all the time, it's usual to let some of them rest here and there to change the texture. Also, the figures are similar, and quick, perhaps one voice in some moments could take longer notes. In fact, when the bass works in octaves (why not in a fixed note?) there is some relief. The final part (tempo di cadenza) has no sense to me... Fugues are always difficult....