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I also don't feel anything while composing. I am too focused on imagining the melodies and harmonies and making sure that the composition will be coherent and with variety and unity etc. Only once I enter my composition into the computer do I start to identify emotions with the sound of the composition. But sometimes (as with my most recent piece - Harvest Moon Piano Quintet - "Mountains") I enter my compositions piecemeal into Musescore and I hear parts of my composition before I compose other parts. I think this is sometimes necessary as some compositions' conclusion isn't certain and my motivation to finish them on paper without hearing them is doubtful. But there is also the risk that I start to identify so much emotion with the unfinished composition that it becomes more and more impossible to finish it as the expectation and pressure to deliver the finished product becomes too great. I'd much rather finish the whole composition dispassionately without feeling anything because this allows me to keep a more objective relationship to the musical materials and not feel too attached to it. Those are my thoughts. Thanks for coming up with this great topic! Peter

There isn't a 'limit' on difficulty for non-soloists, you can make it as difficult as you see fit for the music. However, for something like a concerto I'd tone down the difficulty for the non-soloist instruments in order to ensure the spotlight is on the soloist alone.

@PeterthePapercomPoser thank you very much for your kind reply. I learned what 'acephalic phrases' mean 🙂 I made another recording today with a variation towards the end. I am always a bit worried about repetitiveness. Have a good day, Peter! 13. 10., 15.37_ madrid.mp3

I also love the soundtrack by Secret Garden in Wong Kar Wai's film 2046. Secret Garden said that the theme is influenced by Bach and I absolutely agree with that, given how succinct, concise and beautiful the counterpoint is in the theme: Henry