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This is exactly what is permitted in 5-voice counterpoint! Have a look at the Kyrie I and the Cum Sancto Spiritu from BWV 232. You'll see that the voices mostly stay uncrossed, but voice crossing happens very frequently between all parts, and especially between the two soprano parts. You find this in SATB works too, just less frequently. To be honest, my interpretation of voice crossing is that it's more of a guideline: "make voices mostly stay in their lanes". Two problems with this. The first is that it's incredibly difficult and tiring to sing something this high for this long - I know you don't care about it but I have to mention this regardless. Second is that your timbre palette is severely limited by having a range of a diminished fifth. It sounds very very odd to my ears - like hearing a violin playing above the ledger line for 2 minutes straight. I'd like to draw your attention now to your tenor line. This on the other hand, to my ears, is incredibly interesting, fully coherent, and sounds like it was crafted with skill and care. Contrast this with your soprano line. Do you maybe now see what I mean?

It is a very nice piece. For me the flute sounds very good and I think it makes the pauses that are marked in the score. Perhaps the melody is written a bit in “blocks” of one or two measures and the musicality is somewhat limited. It also seems that the flute sounds more distant than the piano.

This is a pretty little piece! My only question is whether "adagio" is really the right tempo marking; it sounds closer to an andante to me. I'd probably add a metronome mark, or at least make it "adagio ma non troppo" or something, to prevent it from being taken at a slower tempo than what you want.

Here is a Fugue in C Major that I composed for Pipe Organ. Overall, I think it sounds good, but I am open to any feedback! I am eventually write a prelude for this idea as well! Also, for anyone more familiar with the instrument, do staccato markings make sense for the pedal part of the idea? Thanks!

That could be arranged in the extremely unlikely long-term scenario of my music being performed, if ever. Still, it should be noted that my stance towards setting my compositions to actual, real performances has shifted over the last couple of years, which I supposed must be at least part of the reason why Henry Ng Tsz Kiu stopped reviewing my compositions altogether, once I revealed how my position on this matter had changed. Like I said then and I shall repeat now, computerized performances are good enough for my current intents and purposes. If actual performers in the flesh cannot pause to breathe, that poses no problem at all: the machine shall sing or play what they cannot without issue. Naturally, my usual trade-off with this approach is said sense of "artificiality" to it all. But after every time this has been pointed out without me putting the slightiest bit of effort into mitigating such aspects of my music, it should be evident by now I do not mind it whatsoever, it simply does not bother me. However, if this reasoning does clash with your own perspectives, just as I assume happened to Henry, you are free to join him in leaving me and my works alone. First things first: this is a five-voice motet. The fact that you implied both the supposed melodic "incoherence" of the soprano line and its relatively high range in the very same comment leads me to believe you should be aware of the constraints set by having five voices in a choral setup. Had I chosen to add more variety to the soprano line in particular, I would have found myself trapped between two different dead ends: either substantial voice crossings between the soprano and mezzosoprano voices, or exceeding even the most extreme ranges for soprano voices. As neither of said options were to be permitted, I had to opt for quite a limited range so as to make rooom for the inner voices. Does this somehow make the resulting melody "incoherent"? Like I have said before, what constitutes a good melody is rather subjctive. All I can point towards in my defense is the meticulous care I put into its construction so as to avoid repeated segments (for example, say, a succession of E F E F with very similar rhythms throughout), that is, the only objective metric by which to judge melodic coherence I could apply in this case.