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My main criticisms (having observed the above praise) would be the general lack of harmonic interest and development. Considering your decision to write counterpoint that is rather homophonic, I think it's a shame that you don't use the descending chromatic motif to lever the work into more adventurous keys. Often I thought the piece was about to do so, (for example) presenting a counterexposition in a different mode and key, but my hopes were slightly deflated. The exposition (or at least the first fifteen seconds of music) sound like they're trying desperately to escape from the tonic, but the same reinforcing tones keep being heard again and again.
If, for example, one considers Pergolesi's fugato sections of the 'Stabat Mater', there are barely any passages in the home key between the first and last system. The part writing itself is difficult to fault, but I can't help feeling this is primarily because it's not as risque as it might be. It's a fugue, it's the finale, it's set at a quick tempo - the listener will not want to hear circles of fifths. We hear the beginning of a delicious descending chromatic scale... but it just rises to the tonic! That is an anticlimax of an inexcusable order, relieved by the last few pages of the composition, which I felt formed by far the strongest section. This criticism is harsh, but given your fonts of talent, I hope it will prove useful.
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