August 1, 201015 yr Interesting ideas, which I think you have sufficient skill to do abit more with. Lack of dynamic markings/variation for long stretches come across as missed opportunities to me; particularly in bars 52 to 140ish, as though the dynamic consistency might be quite purposeful on your part (I can both see and hear the effect of this, if that's the case) very subtle dynamic changes (underline crescendo's and diminuendo; even the occassional sforzando, dependent on what you decide to aim for) could enhance the sonorities of this passage. I can't give precise comments on piano playing (as, sadly, I'm not a pianist), but I find your piano writing to be suitably expressive (though I can indeed hear your influences!). I don't like the way you end this work; it's the type of ending which, though once unorthodox, has became a musical cliche and to be honest doesn't satisfy the sonorities of this piece. I want a considerably more cynical/violent ending than that. Overall I think you have an interesting set of ideas, which with some fine tuning and work could be become a compelling piece of piano literature.
August 1, 201015 yr Author strange...never though about dynamics in the last theme (bars 52 - 140), i found it rather monotenous and abstract in nature, but now i must admit that i'm impressed with this idea... this end was intented from begining - cliché you said? - maybe my aestethical feeling is obsolete...so you prefer something more prokofievish. i know what you mean and i'll consider it also thank you for ideas
August 1, 201015 yr strange...never though about dynamics in the last theme (bars 52 - 140), i found it rather monotenous and abstract in nature, but now i must admit that i'm impressed with this idea... this end was intented from begining - cliché you said? - maybe my aestethical feeling is obsolete...so you prefer something more prokofievish. i know what you mean and i'll consider it also thank you for ideas No, not necessarily. I literally mean the last bar (I should've made this more clear, sorry). The final section I like, and works very well; the last bar however bugs me beyond belief and spoils your ending (in my opinion).
August 2, 201015 yr Your piano writing in this is actually very hard/a bit awkward. You often have very large leaps which need to be played quickly because of the motor rhythms you have. In performance there is going to be pauses at those leaps unless the piano player practices it a lot, and even then... I thought the ending (as in the last bar) was fine, but the second after the minimalist-additive thing wasn't very interesting and it never really reached a satisfying climax for me. I think this is because the piece isn't "finished" there--you need more development for it be satisfying, if you wanted it to have an unsatisfying ending, which is fine, you succeed. Speaking of that minimalist section, you should really clean it up with all those rests.
August 2, 201015 yr Your piano writing in this is actually very hard/a bit awkward. You often have very large leaps which need to be played quickly because of the motor rhythms you have. In performance there is going to be pauses at those leaps unless the piano player practices it a lot, and even then... I thought the ending (as in the last bar) was fine, but the second after the minimalist-additive thing wasn't very interesting and it never really reached a satisfying climax for me. I think this is because the piece isn't "finished" there--you need more development for it be satisfying, if you wanted it to have an unsatisfying ending, which is fine, you succeed. Speaking of that minimalist section, you should really clean it up with all those rests. Since it's been brought up I'd like to add that I thought this also, though I personally assumed (like Last Life seems to suspect) the intent was to have an unsatisfying ending.
