@PeterthePapercomPoser I am glad my music is more accessible this time. I am always fond of making a symphony starting with a lyrical, grande Russian theme. I had thought of making a introduction before the theme, but I just find it hard to write a development to the theme without shadowing it (in terms of dynamics/ complexity). There could be lengthy long string chords holding but it may lose your (or at least my) interest. So I decided that to make it straight to the theme.   For the ending section, there will be an attacca to the next movement. I don't want to end strong in first movement - would rather some momentum for second movement. @Aria Donn Thank you for your listening! I am quite surprised both of you recognized my music a "Mahlerian" work (in some place) - Perhaps there are some subconscious impact from him - but yes, that's my way of writing - passing the motive between different instruments and purposely stack them to develop new materials. However, in terms of harmonic langauge, my work might be more "harsh" than what Mahler did. That's my long developed style - perhaps my prefered way of writing - even I am already quite "conservative" in the consonant part (as compared to my other works full of dissonant stuff), I just can't help to add a touch of harsh feeling to it - like a drama cannot be complete just with pure joy - but usually coming with some twist and hopeless scene.  After all, I agree it is a hard thing to balance two contrasting types of harmonic materials. And I hope I can master it one day.

Thank you for your input @PeterthePapercomPoser. It is a long composition indeed. The intro song was written years before the whole composition. Firstly i had arrange it all for piano. I used ewql symphonic choirs vst for the singing choirs part, with which you can achieve quite realistic results. Some parts of the composition come from years ago, while others were composed more recently. From an orchestrating perspective i follow my intuition, as i have taken some music lessons in harmony, but not yet on composition / orchestration, so i guess there would appear some issues like the ones you mention with the high pitch of the choirs.

Hello @elmarad40! On the whole I quite like the character of this music!  This is quite a long piece so I will only attempt to review the introduction and first song.  In the introduction you have the sopranos/female voices sing in a very high range for a long time without a breath - at least that part of it verges on the impossible.  I love the piano introduction - I think it successfully builds suspense and expectation for the rest of the piece.  What software are you using to render the choir vocals?  They sound pretty good!  At 1:52 the sopranos come in on an impossibly high note - this is my main gripe with the introduction. The first song sounds quite pesante in the beginning and heavy.  Later it transforms into a quite uneasy fanfare which to me does a good job of symbolizing Parzival's anxiety dream.  The music is quite differentiated and with plenty of different ideas and contrasts yet is unified by your unique musical style.  So good job with that and thanks for sharing!  I hope that in the future I might review some more of your work.

Hello @Olof Darin!  Welcome to the forum! I am listening with headphones as instructed.  I actually think this is quite lovely with some unease and discomfort inherent in the slightly dissonant language you employ.  But I think this proceeds quite logically and melodiously throughout!  You might get even more attention from fellow pianists on this forum who have also played their own sonatas like you have such as @PCC and @Henry Ng Tsz Kiu, if you posted a score.  Your playing is very good, especially in the fast parts!  I don't think I've heard any obvious mistakes.  I think I like the soft, chorale-like parts of this movement the best.  The bell-like effect you achieve through your use of octaves in the extremes of the piano register is also quite creative!  Thanks for sharing and good job!

I find this most interesting especially after my recent segue into the Muzoracle.  There is also a way of casting the Muzoracle cards alongside with the traditional Tarot cards.  I am not at all familiar with the Tarot however so I don't know if I'll ever learn that. This piece to me is a typical one for you - full of sounds of intrigue, suspense and unease.  I don't know if your goal was to channel the emotion of love through the music because I don't think this does that at all.  It does sound kind of coquettish, like a beautiful woman who doesn't want to be caught.  But I listened casually, without looking at the score so of course take that with a grain of salt.  Of course, as always, your music seems to proceed according to the rules of its own logic and it does so in an interesting way that sustains my interest throughout.  So good job with that!  Thanks for sharing.