musiclib141

I like your first movement; it clearly shows that you know how to construct themes out of small fragments (in this case, of scales that ascend and descend by thirds and fourths). I found the movement dies down abruptly long before the expected symmetry of sonata form is achieved. I hope that the other three movements can explain the reason for this. Perhaps a second-movement scherzo based on the pizzicato passages in this movement?

Hey Max! I remember you from Elite Syncopations! It's nice to see you're still composing! Anyway, I agree that this piece would lose its ability to fall under the hands if transposed. Nonetheless, it would be easier to read in F-sharp and B. That would get rid of the E-double flat chord in the opening (changing it to D-natural). As for the double-sharps that would occur, they are more efficient than double flats. They have their own symbol, distinct from two sharp signs. Anyway, it's a great piece that James Scott would no doubt have been glad to have composed! SAS