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Hello Henry, I hope your doing well when you (eventually) read this comment! Firstly, I'd like to say that this is a very wonderful piece, and you should really think of it more highly. My favourite passage was that from b.96 to 103 with that cool as chromatic passage. There's not much else I can add, but thank you for dropping this piece! Kind regards, Arjuna

Thx but actually that's not quite sad for me haha, since I feel like by being a composer you have great responsibilities to bear. At least you have to ensure that your works won't be trash, you really have something unique to express which can only be expressed in the medium of music, you have to improve in every pieces and look into all those details and decide. I feel happy when I feel like composing is a very difficult challenge to take, since easy things don't worth much.

Hey @Giacomo925, Thank you so much for your attentive listening and review! I really appreciate that! Yes I didn't mention the pastorale sonata but I was and still am in love with it. That sonata, along with no. 13 and no.14 the moonlight, was the first classical music I had ever listened to when my mum brought the CD from the library! I don't know why, actually I didn't have the pastorale idea right at the beginning but conposed with the sound of it, and subconciously used Beethoven's theme! I was more thinking of his op.101 in the same key that time. Actually I have never thought of this and think this is a good suggestion. I don't know why I do that, maybe I want emphasize the climax later on in b.35-37 and 135-137, thus I put a lighter texture before them. But your suggestion is very reasonable! Thanks for this! Of course that would not be crass! That's a very reasonable suggestion. Usually before the recapitulation tension should be built to prepare for the return of the 1st subject, but it's just that I wanted to do something different: I actually wanted to minimize the tension and expectation of returning to the tonic key in it. Normally I would probably return to tonic A major in place like b.95, but I want to play with the expectation and also make it more poetic, thus having a pp on a F sharp minor second inversion chord lingering with a sparse 16th notes in the left hand, and then let that dominant seventh chord suddenly appears in b.103 with a tenuto. You suggestion is a good one, it's just that I have different ideas! Thank you for your appreciation! I try my best to keep the flow of the movememt moving and minimize the contrast of it, making it as natural as possible with less adventerous harmonic progression, if not too unvaried! I find that we have the similarity of focusing on the interplay between parts/instruments, that's why I find your music very affable for me and I enjoy so much of your music too! This kind of mutual encouragement is great! I am practicing the second Scherzo movement, which is quite difficult and may come after few weeks time. For the third movement I am changing my mind and may record it. For the fourth, I will just put the computer rendition here since the structure of the finale is a mess. I am also practicing my piano sonata no.2, so stay tuned! I love that sonata more than this though! Thank you! Henry

This is really cool! I had to remind myself of the theme of Beethoven's Pastorale Symphony and I have to say I don't think it's very similar at all! Maybe just some of the rhythm and contour of the main theme, but this is far from a copy and paste (which you justly remarked in another post is simple plagiarism). Stylistically and harmonically it is quite inspired by Beethoven however. But that's not a bad thing by any means. I think as composers and creative types we sometimes can't help and have a bit of hero worship! All your melodic and harmonic material is quite lucid and well thought out, never jarring or discontinuous. The chords are sometimes thick but not overbearingly so - quite like Beethoven would probably have written himself. Your performance is quite good as well! The piece does retain the feel of a pastorale movement, being sprightly with its jaunty spring in its step in 6/8. Great job and thanks for sharing! And if you don't have recordings of the 3rd and 4th movements, I would love to hear at least the computers rendition of it!