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There are some moments in this where you have cross-relations/chromatic conflicts that bothered me like in the very beginning in meas. 6 where the cello has a Bb while the piano has B naturals in all it's registers even in the same exact register where the cello is at. Something that impresses me is how you've managed to write distinct lines for the cello and piano even though they quite often occupy the same low register and it normally has the tendency to get muddy. 1st movement: I like how you manage to build the whole movement out of the melody stated in the very beginning by the cello during the pianos march-like accompaniment. You transform that melody throughout the movement into many various uses and I can hear how integral it is to how the movement was built. 2nd movement: Quite a hypnotic and lyrical mood you manage to set with this one! I think sometimes it seems like you over-orchestrate with the piano instead of letting the cello have some shining moments like for example meas. 108 where you double the cello with forte triplets which seems like overkill to me. It would have been a nice segue into the next section if the cello had been allowed to play that solo imo. Ending the same way you began is a nice touch. 3rd movement: I like how you bring back the motif from the 1st movement. It's a nice way to bring the whole sonata to a close. I think throughout this performance I felt like the cello was a bit indistinct especially in it's projection of the highest notes. Intonation in that range was also a bit questionable but I do admire your determination to get this performed which is maybe a bit easier in a chamber setting. Overall this was an enjoyable sonata! Thanks for sharing.

Greetings, weary traveler! May you future journeys be safe!

Oh, right-right, I should've written medieval-fantasy! Definitely not authentic medieval, my bad. Understood, thanks! How does bass usually move in this type of music? I agree, no idea why I left it like that 😑 Thanks! Sure, I can probably make a fairly readable score here 🙂

very nice, you have managed to capture a authentic atmosphere. if you have a score I'd like to see it.

@Alexander Reiger Thank you for listening, I'm glad you liked it. I wrote this about two months ago. and I don't quite remember what I intended to write in my mood back then, but looking back now I see what you mean. there are constant tempo changes and variations such as passacaglia imitation to make it attractive to play. but after a while I realize that this is tiring to listen to and I am unfair to some themes. I'll work on it again later. thanks again

This is lovely! Not at all medieval, but I suppose you know that. It's nice and evocative. Two really minor criticisms - first, the tone of the bass has a very pop-oriented quality to my ear, particularly in the very clipped way that it's played whenever it has an anacrusis. Maybe that's what you want, but it sounded incongruous to me. Second, I think it could use a bit more finality at the ending - there's an odd quality of a sudden diminuendo and then just a short final note on the guitar. Just making that a full strummed chord would make it better in my opinion. Anyway, I enjoyed it a lot. Thanks for sharing!

I feel like this piece has a lot of potential. With some reworking, I think you could create something really good. I enjoyed the long sweeping melodies over 16th-note accompaniments. I also like how you mix these up with slower contrasting sections. It's good to give the ear some variety. I absolutely agree with Rabbival507's comments regarding thematic material – while the ear needs variety, it's also best not to introduce too much different, unrepeated material as this causes the piece to lose its cohesiveness. Perhaps you could try thinking in terms of sections (A, B, C etc., like in a rondo) – that's an approach that I've found works for me. Maybe you can try to work out a simple structure for a piece (eg. A-B-C-A-B) and vary each section to a greater or lesser degree when you repeat it. Now, in terms of playability, I'm not a violinist/violist so I'm no expert, but I'll repeat some general advice my composition tutor gave me: when in doubt, it's good to make it as easy as possible. Your piece seems to have a lot of double stops – I'm not sure how easy those are to play. That's just my instinctive reaction, though – you mentioned you're a violinist so I'm sure you have more insight than me. Hope this helps! I did enjoy listening to this piece and I hope you continue to develop it.

After getting some feedback about the somewhat abrupt ending, I had some time to tinker this weekend and added an additional bar to the ending: Audio: https://drive.google.com/file/d/1BPWTEZsWXrk7BhoJQTYbMbaZedXNVHDY/view?usp=sharing Score: https://drive.google.com/file/d/1VLEvAk5pc4gj1mCHCv2kP3e1SR7sNam6/view?usp=sharing I think it takes away a tiny bit of the "ending on with a cliffhanger" that I like, but at the same time, I don't think it sounds as abrupt. But perhaps it's a bit obvious? Thanks! David

What I heard from a lot of cellists, including the one that played in that recording is that usually cello sonatas try to keep the cello above the piano, so a lot of the instrument low range gets thrown out. I did the exact opposite, and unfortunately this version of the recording had the cello at too low volume (the mic was next to the piano instead) so it doesn't sound as distinct as it did live. I think that it's not the register that matters but what each instrument is doing, so you can make the piano and cello occupy the same space and yet have them sound different enough that nothing gets muddied. I was going to get this re-recorded, but then stupid virus happened. Maybe I'll still do it next year, we'll see. As for measure 108, I think it needed more loud and drama. I tend to write out my dynamics more than actually just indicating them, but even so I don't think the cello alone would've done the job since I just like how the piano sounds hammering the octaves there. This was a live recording of a concert I put together last year and there was a technical problem with this performance so, uh, I salvaged what I could. Hence, why I want to get it re-recorded properly. There's a pretty big mistake in the first movement too, which is annoying. But well, the show must go on and I couldn't have'em stop and do it over and due to ...logistics, I couldn't record the final rehearsal, which is usually my favourite time to record stuff since there's no audience and the musicians can concentrate more and if we need to do over we can. I'm not making this same mistake again, that's for sure.

thank you exactly. but most of the time, it is not possible for me to reach performers. I try to listen to the every music here when I find time. I have also listened to the retrospective compositions of many member, including you. but i usually get silent when I have nothing to add. thanks again