Well, it's beutiful and emotional (for me).
I like the polyrhythmic parts (semiquavers against triplets).
I like the occasional dissonances (measur 3 E + E#).
I also think it is well balanced in registers (low from high) and the climaxes are perfect where they are.
First of all, I want to say that I've read your post (the whole of it). It's interesting what you say here.
Regarding the piano (as a player) I can't tell you anything. If I play the piano it's only by accident, because it is the instrument I use to write music. But I am not interested in becoming a very good player. Of course, I'd love it, but I have no time for that.
But as a music writer I can share some facts that helped me in the voyage of composition.
1. If you are open minded (I think so, I listened to your piano pieces)... the more things you know and study, the more tools you'll have to compose music. I mean classic harmony, jazz, atonality, clusters, minimalism, jazz, bolero, tango, etc, etc... Perhaps you won't be happy with some of them. Never mind. Spending some time in them allows you, although you dislike something, to use it at your convenience.
2. I think that even the best composers in history have had different periods in their production. Take any of them: Schönberg "invented" atonality, but he also wrote tonal music. Stravinsky went through several periods. R. Strasuss, etc.... I mean, we don't need to worry about sticking to a particular harmony or language. Surely we will change sometime.
3. Studying classical Forms was crucial for me. This is the best way to organise and develop your works coherently. It will be useful for any type of music (classic and contemporary). Once you learn the essentials of Forms (which is not complicated) you can do with them whatever you want, but your music will have coherency and variety.
4. Plan a project that is real for you. Choose the instruments or ensemble you know best. It is the piano, ok, it's the string quartett, ok. Whatever, but it's a nonsense working with large orchestra without experience and knowledge. Many times I've planned things like this: some studies on exotic scales, a suite inspired in my pets (I have 7, enough for a suite), sonatinas, sonatas, song cycle...
Well, this is my experience.
A fine work as always. The viola is an underrated instrument that deserves more literature. The one challenge that I encounter when writing for solo viola is that the orchestral forces can easily overwhelm the soloist and perhaps it is just the recording but I felt the same problem came up here.
viola na duracell partitura.pdfThis was initially composed as a short virtuoso piece for viola in piano but was later orchestrated. It is eventually planned as one of the movements of potential Viola concerto but this has not been accomplished yet. The recording here keeps reminding me. :p