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Hi @Luis Hernández, I definitely learn from Vince’s comment on my Clarinet Quintet. He said I kept using all the instruments there which is true, so I decided that I should give more contrast of textures by simply silencing some of the instruments! I always think chamber music should be dialogues. It would be really boring if some instrument like the tragic violas keep playing accompaniments LoL! For me every instruments is an independent entity. This refers to your next point, I think every instrument should have their voices, so I like using polyphony. This is more apparent in my six part fugue next to this Lamentoso, but my thought is the same. Thx! That Sibelius opening is really shivering which reminds us the cold Scandinavia! I feel like it’s shivering here too! Thx for your comment! Henry

The handling of form of this movement is something I aspire to. Slow movements are more nemesis, but this one doesn’t make me lose attention! nothing to complain about from musicality aspect Some practical personal preferences as a string player: bar 6: does the sF mean forte for the whole bar, same for the tremolos as well? Personally I think an F with a tenuto would be more intuitive Bar 95: not a string problem per se but with the triplets with dashes you mean 6 notes per beat right? I personally would write out the first two to three beams literally first before simplifying bar 168: each tremolando group is meant to be slurred (one bow) right? Helps to add a slur line As you may have noticed these are mostly just QoL opinions

but is it though? I think what happened was you thought about how to fit different material together, without intentionally trying to adhere to a strict formula. However, because you care so much about coherence and composing technique, your "disorganized" form flows really nicely, even with the cadences and random pauses. I've already mentioned to you how much I like this. In fact, knowing your planned structure, I'd say you really did justice with the form, since it's beginning moments are a nice break from the gorgeous first movement. One thing I've noticed about your music is you're very good at "Less is more". You make really wise orchestration desicions, and although there are plenty of moments with fire and vigor, you know when (and how!) to be hushed and subtle. I really do hope that anyone commenting on this piece listens to the other movements. I'm almost sad that I've heard these out of order, but I'm excited for you to be done with this project so I can listen to them in the order you intend! Well done as always Henry