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I felt the music needed to take a breath. There's a lot of musical phrasing in there that shifts from passage to passage very quickly, and I was physically tired just listening to it. It also seemed to me that the percussion rhythm strove against the natural rhythm provided by the melody. (It might also be the reason the music seemed constantly out of breath. Dunno for sure, though.) I liked the pentatonic feel of the main melody and think you've got a good thing going here, overall! I would suggest giving the rhythmic structure a bit of a tweak so it flows better with the melodic structure. Maybe use less drumming for this first part and only fill in rhythmically where the melody lacks. It might be interesting to hear some Eastern-sounding percussion, too, such as a gong or wood blocks. Just don't overuse them! Keep it up!

Don't worry. Perhaps my idea of impressionism is more "french" than "nordic". I mean: quartal and quintal harmony, exotic scales, whole tone scale, non-functional harmony, etc...

Very nice and enjoyable piece. I see you have a detailed and realistic (but difficult sometimes) writing for the piano and I like it. The overall feeling is very rhythmic, almost in an ostinato, so the counterpoint parts (teh beginning) are a good contrast. However, it doesn't sound impressionistic to me. It's tonal and harmony doesn't leave the audience any doubt (which is the essence of impressionism). I think it moves between classic and romantic language. But it's quite original, and that's what counts. (I'd love to see the mornings you describe in Iceland....)

Ah, Jared, these are marvels. The color, the structure, the abstractness. Comments for each piece individually are below. Gigue: The lilting effect was quite reminiscent of the sea. The theme was embedded and embellished throughout. I congratulate you! Serenade: Short but oh, so sweet! There is a richness here that was quite delightful. Music aside, I do believe you misspelled 'koi' at the end there. Dance: This one might have been my favorite. The colorful chords along with the tasteful rhythm kept me smiling. Fantasy: Superbly written piece, and the musical directions were just as fascinating. Dirge: Another favorite of mine—so melancholic. And I found it interesting that you switched to French for the descriptive post-title. Curious as to your reasons for that... Toccata: Loved the back-and-forth between the hands. Also, you used the word 'epigram' in a piece of music. How pithy of you. Berceuse: What depth! And the colorful imagery throughout is just breathtaking! In m18, though, I was confused about the 8th note chord in the bass before the half note chord. If it's an appoggiatura, shouldn't it be attached by a slur? If it's not, perhaps put a little distance between those two chords so the meaning is clearer. Caprice: This particular piece had a strong taste of impressionism (Debussy would be proud), and the return to the original theme at m42 was masterfully done! Even though this piece moved quickly and the chords were unconventional, none of the nuances were lost on me. Very well done, sir! I continue to be impressed by your musical prowess. It's quite apparent you put a good deal of thought and planning into these works, and I suppose that's why I find your music particularly appealing. There is no superfluity, only an overarching cohesiveness that ensures every note that's written makes sense, belongs. You must be an aesthetic minimalist, because it's as if your music has been distilled down so that each idea is effectively conveyed using as few notes as possible. I consider your works nothing short of masterpieces. I do hope the world discovers you someday. Thanks again for sharing yourself through your music! I look forward to hearing more of it!