regrepsnefpoh

(I've only listened to the first movement.) See, I view the piano writing as largely accompaniment. Whole note chords, albert-bass style chords to make it sound busy or "polyphonic". And where the piano has a part which sounds soloistic... nothing is going on in the strings. Look at 146. The right hand melody is played in constant intervals. What a pain for the poor pianist! Maybe the violin could play the top row of notes. That would be more idiomatic to the capabilities of the trio. (And look after this piano solo. Immediately after the strings come back in with melody, the piano is again relegated to square chordal accompaniment. And after the strings get their brief stint, and the piano comes in with melody, the strings are on whole notes again.) Putting on any short sample of the piece, it sounds all right. It sounds really good, actually. Catchy melodies, cool ideas, well polished writing. But as a whole, it sounds like you wrote it in pieces, moving from one good idea to the next with no real sense of direction. It would not surprise me if your compositional process was to write out a melody, and then add some pleasant chords to fill out the non-melodic instruments, before moving on to the next melody which popped into your head. There is a fine line between rhapsody and lazy writing. Parts of the piece are beautifully rhapsodic. I love the way the piano builds in intensity during the slow introduction. It wasn't until the suddenly cheerful interruption to this powerful solemnity, at measure 24, that I began to have my suspicions about the structure of the piece. One of the hardest lessons to learn about composing in the English language (one in which I am far more adept than the harmonic language of music), is that editing means cutting. Since the first movement is largely piecemeal anyway, I imagine it could be trimmed down quite effectively. Keep it tighter.