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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.

Thank you for your kind words. I am so pleased you enjoyed the piece. The software used is Noteperformer. The piece was posted a few years ago on the forum. Mark

Here's one piece I wrote for Clarinet and Piano. Mark

Hi ... I have only one observation. All (woodwind instruments) have different tonal qualities. The clarinet has its beautiful - hollow - moody - and "jazzy" tone. I didn't feel this work recognized and/or exploited those characteristics or other ones associated with the Clarinet. I would have really loved for you to bring out the unique character of the instrument. I wouldn't write for Flute, Oboe, Bassoon, or Horn etc ... as I would for Clarinet. Was there a reason you chose the Clarinet for this composition rather than another instrument? Eager to hear your thoughts ... Mark