Well. Thanks Zetetic!
Hmm I am really astounded that you thought that there was not much coherency. That is what I REALLY tried to infuse into this piece. Then, I guess I've failed. In the first movement, EVERY phrase has a version of the motif... If you look at my works, I use motifs almost exclusively (such as in the overture). The first movement's motif is a simple one. Three beats (the exposition uses a dotted half, and the development takes it some steps further, with three quarters, then eighth notes) and the fourth beat of the measure is a triplet figure (in steps... ascending or descending). I think the problem is, this motif is too ... vague. In fact, I did this because I find Beethoven's pieces too literal in their repetition... that's just my taste, and I write my pieces accordingly.
In fact, I thought that the second movement was WAY too repetetive... but I guess not to your ears. I also thought that the motif was extremely apparent, given that it is repeated many many many times. It is a simple motif (again, this might have been too vague) of two descending (half-step wise) eigth notes, followed by a sustained note, followed by an arpeggio. In fact, even in the counterpoint section, Almost EVERY measure begins with the two descending eigth notes, whether they are clear or hidden. Finally, the second movement is in minuet form, I developed the theme/motif up until the B section... (which is the trio.. again, quite obvious because of the slow down). Then, this development is reversed, until the repeat of the exposition, at the end.
Really, I tried my best to write a good piece, but I haven't had any experience for this ensemble... so it hasn't come out the way I wanted it to. Sure, there are many critiqueable elements to the piece, but I thought that coherency would be last on the list... guess I was wrong
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For coming up with the melodies/bass what not... I improvise daily on the piano. Usually there are one or two melodies that REALLY stick. Then... I just think about them. I think until I have determined the structure/how to develop/orchestration etc. etc. Then, I do more playing on the piano to fully flesh out the theme/motif. Finally, I input the exposition into sibelius and start working on the development.
Thanks for the critique.