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To highlight a few key differences between either piece, in Chopin's prelude the melodic contour seeks minimalism in a way that balances out the listener's focus and allows the left-hand chords to shine and be heard more clearly. However, in my composition, the melody is most of the time merely a product of the top line of the right-hand chords and while it does produce a distinctive effect due to the rhythmic motif and its characteristic contiguously rising and falling eighth note in the 4th beat of its initial measure, it is not a sufficiently distinctive part to be considered, in my view, integrally alienable from the lower voices or the right-hand chord progression as a whole. Well, some earlier pieces of mine, composed almost exclusively for piano specifically, were mostly focused on styles closer to that of this composition than those of my usual production, such as in this post: https://www.youngcomposers.com/t44435/triwaltzia-no-1 You're correct in pointing out the deviation from my usual style with heavy counterpoint. The title, however, was not actually a strict or entirely accurate stylistic descriptor, and instead it purely serves as an indicator of a particular style I sought to emulate from the Romantic era. It obviously does not account for the entire range of styles and genres that this period in the history of Western classical tradition has to offer, but instead builds an association based on the "vibes" of the music, if I may use such a term. I especially agree with your first line of criticsm: the constant reiteration of the same rhythmic motif ending up producing a far too monotonous, repetitive or boring impression was indeed a concern even before this piece was finished. However, every time I tried to vary the rhythms or change the bass, it felt jarringly sudden and unexpected, breaking pattern in a way that not only was far from subtle, but also completely imbalanced considering the listener's expectations after the first couple phrases. Adding a contrasting B section with an entirely different theme might have solved the issue, but I failed to execute such an option in time before the whole piece was nearly complete. The density of the chords doesn't concern me nearly that much. Reducing the number of internal voices in the middle sections seemed to create the same unexpected vacuum I just described, so as long it doesn't get in the way of the dynamic contrast across the piece I personally see no problem with it, since I'm certain any sufficiently skilled pianist would be able to perform those in spite of the uniform chord density throughout. I'm interpreting what you mean by the bass being "underused" as not providing sufficient rhyhtmic or schematic variety, which could just as easily be referring to the right hand chords, just as in your first point. As for the arpeggios, I disagree with the premise that it is merely an effect: it is integral to the motif across the whole composition. I do understand what you actually mean by that, however: it once again comes back to the original line of criticism. The bars you mentioned were unplayable without additional arpeggios merely included a major 9th and 10th. The 10th in question has been edited to an octave for easier performance with a smaller handspan, even though it is still arpeggiated. However, that doesn't solve the rest of the 10th in the 2nd beat of each measure in that sequence, so sorry in advance to pianists with smaller hands: I must admit feasible playability is still not my main priority (ah, what would I do without the wonders of modern technology...) Anyway, thank you kindly for your review and points of criticism. I will most likely take them into careful consideration when setting myself to write compositions similar to this one.