This was really lovely, Sojar. I seem to see a lot of composers who either shy away from using cluster chords, especially in a cappella works, because they see them as too difficult, or they use them just for the sake of feeling contemporary, but without the notes making any logical sense. Here, they add warmth and depth to the sound, but they belong there perfectly. It's not surprising that the choir tuned them all beautifully, because the musical language just makes sense. You've done a great job here. Congratulations!
What a great idea for a writing exercise! I actually really enjoyed the octaves, which makes me wonder if it would be worth just changing instruments to make it playable? You could ask one of our resident organists if they had recommendations for stop choices to arrange it for organ, or designate it as a four-hand two-fingers piece? :D
I agree with JairCrawfod and Austenite.
Your ideas are amazing by themselves. And many times, when this miniatures come to mind, they are what they are, and trying to do something larger or different doesn't work.
I also like the viola very much.
Philip Glass (i adore him) wrote "A madrigal opera" for six singers, violin, and viola. Part III of the opera is a long soliloquy for viola solo. Perhaps you like it (or you know it):
Seemingly your music has finally begun to find its audience. The main issue is, as usual, our itch to hear what can be done with any musical idea, rather than just the idea itself. Nevertheless, miniatures are (and have always been) as much of valid musical expressions as large symphonies. I must commend you for your steadiness and for sticking to your ideas, and also for picking such an underused instrument as the viola. Good job!
Mission accomplished! One of my highest hopes upon writing this work was exactly that - for the music to be able to stand for itself whilst conveying some sort of musical narrative. I'm delighted to see that, at least on your opinion, it was achieved. Thanks for you comment!
Well, yes! In fact I was a bit surprised that no one had even mentioned it before. In the first draft I even had the coda going back to B major after the brief step up to C minor, just as Stravinsky's glorious ending - but then I decided (upon a suggestion by Tokkemon) to stay in C major and end it there, on account of B major being an exceptionally tough tonality for the brass section. The work, as a whole, shows influence from a variety of sources, but I couldn't pick a better fit for the ending than Firebird, which I listened several times before writing my own wrap-up. Thanks a lot for your comment!