I like your music very much, Danish. I remember this from before, especially the beginning open fifths which I must have commented on... The new Tarantella is not as good as the preceding movements. I mean it's good, but it needs to be less whimsical and much more relentless. No pauses, no reflection. Damn the torpedoes, just drive! Now of course I'm talking empirical Tarantella. You've added additional elements that - it could be argued - make it less effective in that regard.
(I'm going through the exact same thing with my Humoresque with Sojar) You try to add a little something to a style or offer a unique angle to it, and people complain that it's not "what it's supposed to be." So, IMO, your 4th movement should be more visceral and muscular, being the climactic last movement. Though as I said, is good music as is.
I agree there are patterns established in my neural system by musical structures, and the patterning of my brain influences what I think to compose. That is merely an "accident of experience", music itself isn't "programmatic". Performance wise, of course, a lot of musical activity is cerebellar, rather than musical analysis, which is cerebral. Surely the brain has a lot to do with the whole thing...
As in a response to - Music does not "speak" of anything but relationships of tones (my original statement). Evidently yes there are relationships of such as rhythm and timbre. These are still acoustic relationships, and my point is that music (and its analysis) can only be meaningfully discussed "acoustically". When I say "meaningully discussed", I mean there is a "shared terminology", a mutually understood "frame of reference".
However "pregnant in meaning" a piece of music is to you, it will likely be pregnant with a different meaning for a different person. This is why, to me, such discussion is insignificant. Anyway, actual musical structure as exhibited in a musical score is of much greater interest to me than "psychologism" and subjective "meanings", which I do not care to hear about. Talk to me of major thirds and augmentation, chromatic scales and syncopation, instrumentation and technique, thank you...
This is a piece that was done at a competition. It's a piano trio that tells a story of a woman who finds comfort in a solitary tree bathed in sunlight.
This piece plays with major vs. minor a lot and tries to stay ambiguous throughout. Hope to hear what you all think!