Thank you for your constructive critique!
I think you are right about the 'sudden' stops. Structure is a very important aspect for me, so I want to have this as clear as possible. However, I agree that the transitions can be more fluent.
I have decided to compose a suite with the subject Seizoenen, before I wrote any note on paper. I tried to make the movements as characteristic for the season as possible, but I am sorry that it did not work out for you.
How could I have been better to suggest a specific season? The Summer is, for instance, of a very other kind in Holland than in New Zealand.
Interesting to see all the different methods, and why they are employed.
I started composing before there were even computers, much less notation software, so I cut my teeth writing whole scores out on paper - usually using pencil, because early on I tended to make a lot of mistakes.
Nowadays, I tend to scribble down ideas on paper, often on anything that happens to be at hand - even a paper napkin at a restaurant. My husband complains about all the Post-It notes I leave lying around that I dash ideas off on while I'm at work during the day. Once I've got the initial idea (a melody) down, I do a fleshed-out sketch in either pen or pencil of whatever I'm hearing in my head, pretty much fully orchestrated, until I'm satisfied I've I've got enough down, and then I enter the sketch into Finale when I have time at home and continue from there. From that point, most of the composition process happens on the computer. I do a lot of sketching sitting in my car on my lunch hour at work.
I still will occasionally write out a whole piece or movement by hand, though. There is something about it that feels satisfying.
A typical sketch in my writing:
Yes, each movement was unique thematically, which is what I would expect for a suite. I enjoyed it and listened to it twice. It has a pensive quality due to the numerous starts and stops. You may have overdone this a bit, I think. I would have preferred more of an arc to each movement,the endings being a bit sudden.
here's the thing about calling a work "Seasons" or something more programmatic than No. 1, No. 2, etc., which is totally fine for a suite. The title seems arbitrary because in the work itself, there is nothing special to suggest a specific season. And that's because you didn't give the listener enough musical cliches to connect his or her experiences with seasons. I understand that many composers find cliches trite. But used correctly they are useful for programmatic music.