PCC

I meant it involved a lot of string crossing, which you might want to avoid if the melody can be projected all on one string, usually the A string maybe skill issue on my part most probably, and I don't know your context, but the lower notes of the double stops you showed here don't seem to provide melodic substance and I would much rather not double stopping on the cello here

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That passage is possible with thumb position on C (D string) G (A string) But it doesn't sound as connected as if I play the top note melody all on the A string. Does the context really demand double stops?

like I said, huge practice and rehearsal skill issue anyway again like I said, I only listened to the piece very fragmented, so i don't have an overall opinion. however the score looks like it gives great pathos like schubert, and complex perhaps like the peak of late romanticism bar 30. the tremolo quaver. I think it feels weird on the bow. just take out the tremolo on this last note of the bar? bar 170. I hate you. jk. moving on... I love the melodies on the cello, I'm sure if it's played irl it will sound very attractive

Very possible at this tempo, but perhaps not any faster. what is not advisable is the random double stops at places like bar 35. You can't expect an immediate large finger position shift up to double stops and expect the sound to come out good. I would advise you to tone down your excess fondness with double stops on cello especially at the higher registers unless you are featuring a super virtuostic cello solo line. Actually the notes in bar 31-42 are pretty uncomfortably hard on the cello as well though supposedly very doable with advanced bowing and fingering (more advanced than what I can do, I am only at g8).

For me the main issue is time and effort. I also have another, the formatting of the sheets and the playback is often suboptimal, especially those using default sound bank. I tend to gravitate towards those with user-friendly sheets and live performances because those are the most effective ways for me to perceive the music works. edit: btw incorrect enhamonic accidentals are such a turn off

play it live, that would sound much less mechanical by that very nature, lol

idk why, I see the your 2nd episode as just a development of the refrain of part A', I see your movement more in a tenary ABA' form ok sure let me give you some feedback since it seems you gave the impression its all praises for you lol bar 18/34 (either or/and), would you consider changing the low e-sharp to c-sharp so the last quaver of this bar has a complete triad? I guess the second refrain does sound a bit random with all the running notes and stuff, but it could also be a playback and *** ahem I'm not qualified to say this*** skill issue, like I said the 2nd refrain the melody is hidden in between the voices it's hard to bring it out.

idk, bars 76-112 seems intimidating and you have to do it in one continuous motion though bars 69-75 is technically more musically difficult imo your slow movements are miles ahead of mine lol... and to actually play it

It's not extremely phenomenal but of course very solid groundwork tbh I posted that ss on the server channel hoping someone might play it or even finish off where I left off lol if anyone is interested go look at our discord lol

For me originally it was just something I do always since I was young but only very little bit. Then eventually I continued to compose to help me improvise better. edit: wait you can't allow other people to add answers?

The whole movement sounds very "safe", almost too much for my taste. But I like the harmonic territories you explored. The 2/4 section feels like it doesn't create enough contrast with the outer parts of the movement (perhaps it's part of the "safe"ness I was talking about). The score notations are a bit off imo so i had to rely on your computer generated playback instead of imagining the sound with my reading of your score, and you know playback has its limitations in delivery compared to live performance, so I don't think my comments here are the fairest, but here we go. Indeed there are issues with enharmonics (e.g. as early as bars 3-4) but I won't go into detail. I have a problem with visually essential rests being removed (compared bars 16 to 24). Bars 44 (and similar places), if, according to the playback audio, I feel like in the lower staff the fourth and eighth quaver "belongs" to the lower voice instead of the upper voice, to mirror the melody, but feel free to disagree. Overall I feel like this is something you can potentially work on to become a multimovement piece, I am eager to see the progress.

It's always nice to have more sonatas on YCF. And I don't really find any huge flaws here, good work. I think all the movements have good structure and form helped balancing things. The first movement definitely shares more than one thing with Mozart's A minor Piano sonata first movement though. I think a few places could do more harmonising, for example the staccato diminish chords in the first movement felt dry. That being said there a few places here and there that frustrates me. The first theme of the first movement reoccurs too frequently for my liking. Especially without variations. Perhaps it's something the performer can trump on, but it's helpful for the composer to inject variations to maintain his/her sense of authorship, I think. Perhaps out of my own inability to play really difficult things, I feel like many runs are difficult without contributing much musically. Like mvmt 1 mm 61-65, those left hand semiquavers felt needlessly unpatterned. bar 134 of mvmt 3, 15th jump on the left hand, La Campenella 2.0? Can't hear it anyway. But do feel free to rebut on this point, I might be missing on something. but overall I think this work is a positive for YCF EDIT: oh my, a neurologist... and your works date back so much too! Oh and also sorry I kinda skipped your second movement here.

Yeah I myself couldn't write or play at this level when I was 16