PCC

lmao fast repeated notes on the piano baseline... I'm sure it's no problem for Henry with some practice but I can't do it. the Alberti-like base in all movements is something I don't like but perhaps its a bit personal

Good if we can cite sources meanwhile, as an amateur accompanist, I must allow audio deviations from the score such as improvisations and cadenzas though, illogical deviations should be regarded as suspicious

1. I'm not sure if the anti-AI detection algorithm would work 2. if we accept AI in compositions, submissions must thoroughly declare any AI involvement in composition (explain which exact ideas/parts/transformations/revisions/etc. were driven by AI and how exactly was AI used in those parts like, total LLM prompt? vague idea? proofreading? etc. generative vs analytic?) 3. I think a complete ban on AI might look close-minded (even though I am actually not against this entirely at all at this point in time), but the world is still at its infancy of dealing with AI/LLM (which itself is also at infancy), and right now at most I would be open to a severely restricted use of AI. As time goes by I might eventually be more open. 4. the problem with enforcing these rules is we might "overcorrect" and label genuine works as "AI"esque. this goes back to my first point, we don't want to mirror YouTube's AI-takeover in doing copyright claims and reports which mostly just benefits big companies.

can't meet deadline sorry

Dont have a chance to listen to it, but from reading the score the drone like base creates this strong anxious atmosphere with the melodies on top. Reminds me of second mvmt of Sibelius 2nd symph also, Mr big hands syndrome again… unlike you expect rolling all of those chords? (Which I think ruins it a bit

not sure if I can meet the deadline, I guess I might be able to share a part of a multisection comp

i see sonata, i click this is magnificent. the motivic interactions... harmonic blending... so good. too long for my internet attention span. but I think it could work in a concert hall very well. and impressive fast octaves! very needed when it is the main motif one thing but that is personal opinion, the open octave accompaniment might sound a bit too hollow (like bar 67), does work better if the register is lower (like bar 17, 274 etc.) bars 189b-191a why suddenly regular triplets instead of the dotted? I find it becoming "too baroque" for a few seconds, especially with the traditional harmonies there. Again, opinion only, and I have no professional qualifications lol

look @Henry Ng Tsz Kiu it has only been a year of me exploring the pipe organ lol but thanks for tagging. surprised you weren't interested in those random pauses... I like the modal harmonies of the piece but I think it would really benefit from specifying the registrations, as the score currently stands doesn't look idiomatic for the organist, and the default computer playback isn't doing wonders

Quality dramatic writing. I like the sudden fast thirds in the third movement, really captivating. Some of the more technical passages especially the first movement sound more like Hummel or Clementi at times. Maybe I'm just cynical but you have quite a few passages that are directly modeled from parts of Mozart's sonatas. They are not out of place but it's quite obvious, I'd imagine, to anyone familiar with his sonatas. I like the places where your originality shines the most, I'd point out the harmony progressions and transitions I like.

Would the title Sonata for violin and piano be more appropriate? We say violin sonatas informally, but the compositional weights seems balanced at least to a certain extent imo

ok promised I'd c+p lol

Chopin background with difficulties within difficulties the transition to the blues section was impressive. the reversion less so imo. but then I have no solutions I also felt the 2nd movement theme is a bit out of place in the middle of the piece, but then you do need it being there to prime for the coda for this theme to come out one last time

* looks at my own scherzi

by playing your works For one you are demonstrating reality, not just abstract concepts there may also be some performer/instrument/acusotics specific aspects only you can do of course being an amateur without the finest techniques I struggle to perform my own works even with more time in practice something I definitely lack irl i might also face musicality or intepretative blind spots so its always helpful to have someone else try to (at least how to) play your work

lol