Thank you so much much @murphybridget! Here's to hoping to improve this movement and to be inspired for continuation! Currently I'm thinking a fast scherzo (maybe g major) as a second movement, since the first movement is allegro but mostly eights so (I think) feels kinda pulled back. Then a lyrical adagio (a minor or e minor) as third movement and then a final rondò (c major but with important c minor episodes). But as soon as I have a little time I want to work on this first movement... any feedback on what's most urgent of course super appreciated!

Any feedback?

MP3     Play / pause triopf1 SR 0:00     6:14 volume   > next menu   triopf1 SR   > next PDF triopf1 - Full Score You're welcome, and I must say that I enjoyed every minute of listening to your work.

As a composer who has worked very closely with a harpist on (admittedly tonal) music, I am very much in agreement with Gardener's approach.  I've thought of this approach, before, myself.  Yes, it will leave some holes in the 24-TET multi-octave scale, but good planning by the composer will help greatly. I'm only now dipping my toes into the problems of quarter-tone orchestral writing that (hopefully) won't be a disaster.  Bowed strings with their unfocused mass (relative to woodwinds, etc.) and vibrato supposedly make for more convincing performances of quarter-tone harmonies.  However, I fear that even professional-level players will be aurally disoriented by the intervals.  One possible solution is to use a harp (treated in Gardener's way) to provide a subtle undercurrent of solidly plucked pitches to help orient the ears of the bowed string players.  Just a thought... That said, I can speak from experience on the matter of the challenge of "mixed scordatura", which is to say scordatura that varies among the individual strings of a multi-stringed instrument:  I composed a short duo for violin and viola - both with mixed scordatura so as to facilitate a Pagannini-ish (albeit much slower) simultaneous left-hand pizz with right-hand bowing of just the right pitches, as well as to facilitate certain quick double-stops to effect four-part polyphony (canons) between the two players.  To be safe, I provided TWO versions of the score and parts:  One version expressed the notes corresponding to standard fingering.  The other version expressed the actual sounded pitches.  Initially, the producer forwarded only the version that expressed the fingering (not the sound) - and soon I got the panicked e-mail because the players have perfect pitch and were thoroughly confused by the discrepancy between what they saw and what they heard!  Fortunately, I asked the producer to send the OTHER version of my score and parts to the players - and bam - an amazingly good performance ensued.

I've added the score.