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https://flat.io/score/63740d2bea08967e07c87170-d?sharingKey=91494ff8cc0a7832cc7fb98dc984355ab1cf4cb2d32cfd0a2b0e534e5518cc6c604de2c2cbe082d979dc4ab9392d976a74ce9b922604bb1e3b08787e240f7060

Dear Rich, Thank you for reviewing the first movement! I myself think that the first movement is worst of the four movements too. Too many ideas and modulation, especially in the development section, that's right! That's a loose part of the piece. If I composed that now, I wouldn't like this. But as Omicron noticed, there must be a learning curve! At least it's much tighter in the later movements. I can defend myself to say that the movement is composed in a span of almost 3 years between. I wrote only under an underlying sonata structure, and I myself was finding my way to compose the movement. That's why too many unnecessary passages are added. But there is a reason why for all these. The modulations are used to fufill an underlying tonal plan: E minor, E major, G sharp minor, combined with the overall c minor, and B major, G major and Eb major, with the tonic taken each forms a augmented chord which I featured in this piece to stress the uneasiness of despair. But this treatment is not quite effective. It's much better in the fourth as @Omicronrg9 noted. That's why the movement ends up like this. I actuall feel everything in this movement and the wrong I did was to use too much heart without a clear brain to provide a clear structure and cut out the unnecessary part. At that time I wrote what I feel then there without a clear plan, so it is messy writing. But I honestly felt all those feeling. I myself is a person easily fall to despair and melancholy. I feel that I would like to escape to dreams in the G flat major 2nd subject. I feel the crush of dream at the beginning of development, struggle in the e minor section, striving for hope in the E major section, the hexatonic pole of c minor. I feel the disbelief of of hope in the g sharp minor section, struggle again later, and despair overall in the later sections of c minor. I cannot agree with this because I never write anything I don't feel deeply. If you yourself cannot feel it, your audience certainly won't. But it's my mistake to write too much in this movement, I totally agree with you. Personally that's the reason why I don't like film music. They focus too much on the feeling but not what to reflect. Feeling and meaning should be balanced. I invite you to listen to the later movements (if you have time)! That should provide a better listening experience. I will also explain in later posts concerning the structure and my feeling of the movements Thank you!

Hey-- First, congrats on your musical staying power!    I listened to the first movement.  And finished it.  For me this is a compliment as I have little time and I usually can't get that far... I think a comment by Omicron sums up my general feeling of the movement: I notice many modulations and ideas coming in and out. Though some are based on the main motive, one could get lost on a first listening. Not that this is necessarily bad, but I feel that the section that begins with the above measures could work alone as a movement itself.       I recall from reading when Felix Mendelssohn's father brought a sample of 15 year old Felix's compositions (the piano quartets if I recall correctly) to Cherubini, asking him what he thought-    His criticism:  Too many ideas in each movement!                  Focus, develop.          Other than that, he recognized a first order genius who would do well.  he was right.           And so my impression, as an informed listener, is that this movement suffers from to many ideas.  While I am convinced you can harmonize anything, and write counterpoint for anything, the real question for any composition is WHY? ( WHY all the modulations?  (for example).  If things are getting stale, reiteration in another key will only go so far...)              As Omicron suggests, focusing on 3 or 4 ideas, developing with an ear towards HOW IT FEELS as a listener would bear immediate fruit.                                              Lead with the heart, not the head.                    I see you have many philosophical ideas (as did Mahler, interestingly), but music --as any film score composer knows-- is, ULTIMATELY about the FEELS.             That is why John Williams is a multi millionaire and _______________ (fill in any academic or late 20th, early 21st century composer) are at best "doing well".             Your technical competency is excellent.  I would do less to do more.          

Very good, I love this kind of folk music, where the melody is supported by stepwise chromatic movements up and down. It is a great platform for variations with advanced harmonics. Bartok was of course  a master in doing this, but your variations are also very nice! Can you tell us what this song is about? Is there a text in English?

Very well done!  I love the modulation to C minor while keeping the folk song still in G minor (5).  The line cliches you employ are sparsely used but give a great and beautiful major 7th dissonance to the melody.  The diminution of the melody at choice spots also gives great rhythmic excitement and drive. About this:   ... Couldn't you have put the treble clef a beat later?  That's way too many ledger lines, as I'm sure you know. Also, is this:   a mistake?  You have F natural in the right hand and F# in the left.  Seems like an accidental cross relation to me. On the other hand I found this tonic/dominant clash   as well chosen and sounding quite well imo.  There are some people who would be appalled at this kind of major add 4 or add 11 type of sonority but I think it can be quite beautiful if handled correctly.  Does this folk song have some kind of personal or sentimental value to you?  Great job and thanks for sharing!