I can't honestly speak to the accuracy of the style imitation, but the only thing I find odd was mixing the Mixolydian and Major modes in the F major section at the end.
But as far as I can tell, it's pretty good and stays consistent throughout.
Are those tempo jump places actually in those tempos? Or is it rubato. Those two places are very very difficult for violinists to play accurately, especially with the infrequent jumps. Also might want to add slurs to your main rhythm, since some people will instinctively make one more bow than the other.
Idea-wise, it's really cool! Sorry it couldn't make the time limit.
In "In Dreams" whenever you had quarter notes in the bass and a "rest, eighth, eighth" pattern in the soprano it seemed to ruin the image of polyrhythm for me, just because it was pretty much evenly subdivided at that point.
It All Comes Back, m. 7, the D natural in the soprano clashes with the D flat resolution in the bass. Also, something in that F major section seemed a bit off, maybe the type where you end a measure with an eighth note after quarter notes?
In "If" starting from m. 9 to a few systems down, the tonality of the piece got really wacky with the rhythmic integration. Maybe that's what you wanted, but it's a big jump from the previous section.
Also, especially in pieces like this, it helps the performer when you beam the rhythms in the notes exactly how you want them to be played so they have separate rhythms to fall back on just in case.
These are cool! Weirdly polytonal and polyrhythmic
Very nice piece! This hidden meaning, once explained it's a plus.
Everytime I listen to one of your soliloquies I find a crossroad in front of me: on one hand I think their simpli great, as hyperconcentrated ideas; on the other hand I think they could be the start point of something bigger.
But they're your creation.