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I understand and it would be a different scenario. But why not take up one of the elements to make it a development. It could be an interesting exercise... It's an excellent idea.

I think the Monte is the most recognisable and so its retrograde equivalent, there are more but usually so heavily modified they can't be recognised as the things in themselves anymore. I'll do like my awful math teachers and "leave the exercise for the listener". But really, what stroke me was the idea that direction and functionality are based on simple patterns and not some abstract root movement. A lot of Ligeti's etudes can be quite challenging at first because of the high virtuosic energy, like Chopin doing jazz on drugs. My favourite is actually very accessible, the dreamy Cordes à vide. After listening to the etudes you can go to the full Piano Concerto.

Hello @Uhor, I quite enjoy your through-composed approach here! The music is not too long and combined with the non-functional harmony it creates an archaic and light feeling as you have said! So this is composed according to some of your self-made rules to create certain sounds or rhythms? I only find the semiquaver passage introduced by trumpet in b.57 a little bit abrupt, but otherwise the music is enjoyable with your not-too-learned approach of counterpoint. The traditional counterpoint aims at making the music fluent and I think your music here does have its own flow! The use of the alto clef for cor anglais in its sounded pitch is an old usage or not? Thanks for sharing! Henry

I am currently working on a new piano sonata. I just completed the first movement, and I would be very grateful for your comments

I love the more classical sections, you clearly know your craft. I kinda wish, (and this is my ridiculous taste), to have them separate, expanded and blended together into another suite.