The finale of my string sextet

I'm writing a string sextet. It uses a rather "modern"-ish sound, but it's built around the classical formal scheme with 4 movements. For the finale, I'll be reusing 2 ideas I intended for a piano sonata. At first (when intended for the sonata) I wanted to structure these 2 themes in a traditional 7-part rondo (ABACABA+coda), but that would make it longer than the first movement of the sextet (big no-no!), so I had to come up with something else. Given what I already had, I decided to go for sonata form.

Here's the exposition. Themes 1 and 2 were written months apart, and the first was later rewritten to make it kind of catchier. The beginning of the development quotes the first theme literally, so it's some "mock-rondo" (expectations won't be fulfilled when the theme isn't restated in full and goes somewhere else instead). There are some bits of a potential coda ath the end (made from things discarded from the exposition LOL). My inspiration's dried up again, so I guess I'll have to wait another month (I'll work on other pieces).

Whaddya think?

It doesn't sound "modernish" to me. It sounds like you've taken a short phrase that could have been written by Gershwin and put it through a series of textural permutations. The furious pace is exciting, but the speed makes it hard to hear anything clearly except the repetition of that one phrase.

Without hearing the beginning movements to put this piece in context it's hard to tell how well it might work as the culmination of the whole work.

Also, I'm wondering why you needed more instrumentation than a string quartet. I don't hear the inner voice instruments being given the lead very often. 

Cheers,
Jer

A very ambitious "Jazzy" work.  In my mind's eye I hear this piece as a work for solo Jazz violin and accompaniment.  As such it could translate into a virtuoso work for a talented player.  I really liked the 1930's jazz -as stated - Gershwin vibe!  Thanks for sharing .....