That's very kind of you! The "obvious programmatic symbolism" is kind of what I'm going for in these sketches, and that's by no means a defense of me not elaborating on my sections. For me, it was just an exercise in "can I make people feel that story in this way". It seems to have mostly worked, but it seems I cast aside a lot of the "musicality" of the music in sacrifice, haha! Thank you!
There is a lot more here than in the earlier sketches you posted. I understand what you were trying to do, tying in the different sections to major points in the story. Some of the programmatic symbolism is obvious on first listen (m. 61-64 is surely the clock striking 12). I think it could perhaps work, but many parts would have to be seriously extended so that each new idea has a chance to be used to its full potential. But it is a very ambitious idea to write a sketch on an entire fairy tale in one day, and the fact you've managed to do it at all is impressive to me.
Keep on sketching!
So exciting! I can only imagine how satisfying it must be to finally hear your piece played by a real ensemble. I sincerely hope it gets chosen for a premiere, and I'll be holding on to whatever chance we have of hearing a full performance.
There's a lot of really cool writing in this one. The quintuplet brackets were a strange choice to me, but I can see where you're coming from. I absolutely loved the bass one though; the ending was perfect. Have you heard Schnitkke's 1st Concerto Grosso? It reminded me of a bass version of that ending and I love that one too.