Capriccio for Viola and Piano

I don't really know what happened here, but I don't hate it. Let me know what you think! 

I think this is a wonderful piece, lots of work here.

The only thing I would say is what happens many times with this kind of pieces. Although the piano is quite interesting all over, it never is in first place. In fact, the two instruments are sounding, all the time. Perhaps this style would benefit of some part in solo, for the viola an for the piano.

But it's very nice.

Thanks, @Luis Hernández! This sort of style is new territory for me, but I'm kind of relieved to hear that someone enjoyed it. I would like to write in a more modern way eventually, and I think I'm getting there (slowly!).

It was originally conceived as the first movement of a viola sonata, but it didn't fit with the other two movements I'd already written, so I just made it a standalone piece. So you're right that the piano takes the backseat to the viola; I should probably address that.

In general, I like it!

The melodic material is very rich and I love your 'orchestration' for the viola. You show that you know how to write for the viola.
The piano accompaniment and the more present viola blend well.
I think you can learn more in writing for the piano. I suggest you study the piano accompaniments of some violin (a lot more music for this instrument than for the viola) sonatas by the classical / romantic composers. Which passages do they use very frequently? What is the relationship with the violin or in this case the viola?

Allegro mm. 1 - 30.

To be honest, in a rather classical than contemporary sounding piece the frequent modulations are overdone in my opinion. What did you want to express with the modulations?
They do not sound very logical to me and they break the lovely atmosphere from the melodies.
As I already mentioned, the melodies are interesting and nice, but in my opinion you have too many of them in a short time, all in another key.
The return of the first theme in a sort of variation in m.22 is very smart!

The following passage, which appears many times, looks a bit weird regarding bows:

M.1:

Maybe you can change this to (sorry for the size):

Andantino con amore mm. 31 - 43. & molto drammatico mm. 44 - 53.

Wonderful! The amore is evident in as well as the melody as the piano part. The harmonies are lovely too. All I can say is: well done!
The molto drammatico really is dramatic due to the octaves in the piano bass line and the powerful passage in the right hand. The triplet melody in the viola part is nice too.
The indicated G (see below) sounds weird to me, since you state an E major chord in the entire measure except in this place. The G conflicts with the G# of the E major chord. I am not sure about the Bb.
M.52 

Allegro mm. 54 - 89

Beautiful harmonies and you create a dreamy or mysterious atmosphere. Furthermore, I like your use of the triplets as a motive.
Why do you use an ottava basso line in the treble clef? I would choose to use the bass clef and then return to the treble clef.

M.66

A tempo mm. 90 - 103 & Andantino con amore mm. 104 - 117

The recapitulation (and variation) of both themes is exactly what I expected and wanted to hear. It makes a whole of the piece; it improves the coherency.
Oh, I love the triplet passage in the piano accompaniment! Splendid!

Moderato maestoso mm. 118 - 135 & Vivace mm. 136 - 143.

Very nice vivid finale. The combination of a static, maestoso phrase followed by a fast lively vivace is excellent.

Hopefully, this is useful.
Overall, well done! I enjoyed the music!

Thanks for the suggestions, @Maarten Bauer! It's nice to get such a detailed review. I'm glad you liked it! The initial modulations were honestly just an experiment for me, and I ended up keeping them. You're also absolutely right about the ottava line in the right hand -- it should be a bass clef.

The mysterious/dreamy part you mentioned was achieved by using Messiaen's modes of limited transposition, thanks to our friend @Luis Hernández. 

The E Major chord you mentioned (just beforehand) with the G-natural and B-flat in the right hand was my attempt at a chord with a split-third and a split-fifth... I felt that I needed a 'bridge' from the more classical passage beforehand to the more contemporary passage afterward.  I don't know how successful it ended up being.

Thanks for listening!

17 minutes ago, Noah Brode said:

Thanks for the suggestions, @Maarten Bauer! It's nice to get such a detailed review. I'm glad you liked it! The initial modulations were honestly just an experiment for me, and I ended up keeping them. You're also absolutely right about the ottava line in the right hand -- it should be a bass clef.

The mysterious/dreamy part you mentioned was achieved by using Messiaen's modes of limited transposition, thanks to our friend @Luis Hernández. 

The E Major chord you mentioned (just beforehand) with the G-natural and B-flat in the right hand was my attempt at a chord with a split-third and a split-fifth... I felt that I needed a 'bridge' from the more classical passage beforehand to the more contemporary passage afterward.  I don't know how successful it ended up being.

Thanks for listening!

 

No problem, I am glad that you find my feedback useful! The Messiaen modes are an amazing treasure: every modes has its own atmosphere(s). Well done.

I like the theory behind the G natural. It just sounded weird to me.