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Hi @Yuchanbot!  Long time no see!  A few weeks ago I proudly referred to you as someone who had successfully learned to compose by writing binary and ternary forms only to find that all your compositions were deleted!

I wish I had the score to this wonderful piece so that I could analyze it's macro-tonal structure and determine if it is actually in sonata form!  If it is than it's quite an accomplishment!  I also have a single movement of a piano quartet finished although it's not quite as extensive as this.  This is a great piece although I wish you had chosen darker themes to give the piece a greater sense of weight and substantiality.  Most of it is pretty florid.  The beginning gives a sense of development even before the themes are fully stated.  You use sequences quite often in this piece and I think I personally tend to interpret that as developmental material rather than exposition.  You scarcely build a nice fully formed phrase like a period, double period or sentence immediately resorting to sequencing and development like the piano solo at 3:25 which seems to meander up and down the keyboard.  Still, there are many impressive and expressive places in this piano quartet.  I love how you use the pizzicato strings at 5:19.  My only critique here is that you seem to resort to stating only fragments of great themes rather than more complete sounding phrases.  I think this could be quite a bit longer if you had taken the time to fully state themes in the exposition of this piece.  Overall, this was nonetheless a very enjoyable listen!  Thanks for sharing!

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This is really impressive! It's really well orchestrated, and flows very naturally, showing you have and excellent understanding of romantic harmony. I have to say, I think this is the first time I've seen a piano quartet in C-sharp major, it's a fun key for sure. Though like PeterthePapercomPoser said, none of the melodic lines really get finished, and while this usually bothers me in a piece, here I didn't think it was such a big issue (but it's something to consider when writing music). I'm just curious, but why is it titled "no. 0"?

Anyway, I really enjoyed this! Thanks for posting!

On 10/2/2021 at 11:37 PM, Yuchanbot said:

also i uploaded the score !

 

You can actually upload it here too: https://musescore.com/upload

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Very nice and well rooted in the Romantic vein, a touch of Rach + Liszt (in the piano part at least). Nothing to comment on.  The string writing is superb - well it all is and the balance with the piano is right on. It flows with ease. 

The piano part is difficult. It'll need an accomplished performer. Some is going to need good aim like the left hand in bar 4.  - First beat, I'd use the middle finger (3) for the G of the triplet then coming down again, 1 for the bottom C which means an entire shift of the hand.( It's things like this that remind me of Liszt - a technical issue that has to be turned into art.) 

Then in bars 20/21 the triplets/duplets in the same hand - not so difficult in itself but the two stretches of a 10th on the fly (bar 21) will need a big hand. I'd play the 3 upper notes with 5. I may stick the laptop on the piano later to try that phrase. You come across as pretty experienced. It's things like your use of double-sharps that suggest it, preserving the shape of a phrase rather than using simpler accidentals that mess up the shape. 

A most pleasing lyrical section starting in bar 40.

All in all, enjoyable - to listen to...not so sure I'd want to play it!

A lovely work in the Romantic Tradition ... it is light and optimistic in flavor.  Maybe a bit more contrast (next movement?) with some angst would be a nice juxtaposition. 

Beautifully orchestrated, with a very engaging theme. I do agree with others that the theme is not really developed so much as repeated in different textures.

You build with nice drama towards the end. However, the actual ending section feels too delicate and a bit coy for the rest of the piece.

The sound could use some tweaking. The piano is mostly too loud and obscures the interplay among the other instruments.

Most impressive. Congratulations.

Cheers,
Jer

Very well constructed.. I love the expressiveness of the strings. 

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Yuchanbot - wow! This is a very accomplished work. As others have mentioned, it's highly demanding, and you would likely find it difficult to find performers willing to take it on, which is unfortunate because it absolutely deserves a performance. Beyond what's already been mentioned, I have only two general remarks to consider:

1) Be careful about double stops, especially in the low registers. While playable, they have a muddy sensation which is not replicated by electronic performances. I really do hope that at some point you will be able to hear this played so you can make an informed decision about whether to leave them as is. Some people like the effect.

2) Related to no. 1, fully voiced chords in the low register of the piano also have that same muddy effect. Personally, I would only ever include the third if I want it to be muddy - and in the places you use these fully voiced chords, I wasn't left with the impression that this was the desired effect.

Beyond that, I found the work to be very well-constructed and interesting from start to finish with some genuinely moving moments. In particular, the second theme (m. 44), the codetta (m. 80), the climax (m. 122) and the coda (m. 166) stand out to me.

From a scoring perspective, I'd consider transitioning to treble clef in some of those LH arpeggios. It makes it much easier to read.

I'll end by saying that although it is obviously a personal choice regarding whether to finish this work or not, it would be a shame if you do not. Just my opinion. There's so much potential here.

Now let's see... there's something I'm missing... oh yes, how could I forget? Did you know you can upload your music to musescore!? Here, I'll even post the link so you know where to go! Isn't that nice of me!?  https://musescore.org/en