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Okay, just so you know, the First movement wont' p lay.
Second movement: Your bassoonist is probalby going to want to breath in these first few bars somewhere. I would also suggest putting a breath mark or a grand pause or something before the tempo change, so everyone breathes together. I would also recommend putting in a lot of slurs and some more articulations. If you don't, they will tongue EVERYTHING. Unless that's the sound you want
Third Movement: This one has better development, I feel. Also, more articulations, that's nice. It would be beneficial probably to have starting and ending dynamics for your crescendos. I think there could be more dynamic specification overall probably.
Fourth Movement: Those are some fast notes for the Bassoon and the Horn. I'm not sure if they're impractical or not; have you checked this piece with a performer of each instrument? When the Flute, Oboe, and Clarinet are playing in 45, it might be hard to get that totally in tune. I would think about the passage from 59 to 71. Do you need everyone playing eighth notes all the time? It might be better and less tiring for the players to stagger those parts.
Just some things to consider.
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