Gothic Tarantella for Violin and Clavichord

This one was intended as a kind of character piece.  Honestly, I was watching the new season of Wednesday Addams and the music from the show inspired this.  LoL  There's dynamics in this that hopefully a Clavichord would be better able to perform.  Thanks to @Alex Weidmann for his input about how to get the Violin to play classic phrasing rather than portamento!  I would appreciate any kind of feedback, comment, critique, suggestion or observation that you may have.  Thanks for listening and I hope that you enjoy!

This is so unique in such a familiar format. I see see this representing a chaotic character for sure! And I don't think you're using microtones here but for some reason it sounds like you are lol. Very fun to listen to, and great job at keeping it interesting throughout.

Cool stuff. I'm gonna guess you were quoting Three Blind Mice; I haven't seen the show. If not—well, you might have reinvented the wheel.

A couple things: 
1. I'm not sure how I like the quiet rolls at the ends of phrases. I know they're possible, but they're gonna be a little awkward and take time, delaying the nice quiet resolution. If I were to suggest a change, I'd maybe consider doing a two note thing (like a grace note + final note kinda thing), with some rolled figure in the keyboard to supplement the effect. 
2. I'm guessing you want your many grace notes to connect to the triplet figure that come after them? I'd suggest being really explicit about that if so; string players are literal (e.g., don't bother giving string players phrasing slurs).
3. mm. 23–24 and 72–73: My brain kind of wants to hear some of these plucked for some timbral variety, especially since the keyboard takes over there. Something like the first note is arco, the others are plucked, until the anacrusis to the next bar. 
4. I don't think your slow section needs a key signature change, personally, especially because I don't hear your key centers as the implied I–bVI–IV of A-flat major. Think of it like musical theater: you change keys so goddamn much that sometimes it ain't worth it. (Also F-flat major is kinda obnoxious to read).

Nitpicks: 
a. Could use some more courtesy accidentals, when used in succession. For instance, throw a courtesy in m. 41 just for funsies.
b. D/C double stop is kinda annoying, and very sad that it moves to Eb/A, which can't use the open A. I see the voice leading, it could maybe be a little more practical, though.
c. Make sure dynamics are on the notes played. I think we really only put dynamics if it's "n" at the end of the note's duration. Maybe it's for the playback.
d. Last measure: take out the rests in the right hand, since it's written like the right hand is doing a register transfer to a lower octave.

Really fun stuff. Congrats.

1 hour ago, Monarcheon said:

Cool stuff. I'm gonna guess you were quoting Three Blind Mice; I haven't seen the show. If not—well, you might have reinvented the wheel.

Thanks!  It's been a hot minute since you've been here!  Glad to see you reviewing again!  As mentioned in the description - the piece is inspired by the show "Wednesday" as in Wednesday Addams from the Addams Family.  I haven't seen Three Blind Mice either.

1 hour ago, Monarcheon said:

1. I'm not sure how I like the quiet rolls at the ends of phrases. I know they're possible, but they're gonna be a little awkward and take time, delaying the nice quiet resolution. If I were to suggest a change, I'd maybe consider doing a two note thing (like a grace note + final note kinda thing), with some rolled figure in the keyboard to supplement the effect.

Ah, yes.  I haven't thought about how the roll suddenly includes more notes and in that regard, contradicts the decrescendo.  Perhaps in a performance the number of notes in the stop could be reduced, maybe all the way down to only two notes as you suggested.

1 hour ago, Monarcheon said:

3. mm. 23–24 and 72–73: My brain kind of wants to hear some of these plucked for some timbral variety, especially since the keyboard takes over there. Something like the first note is arco, the others are plucked, until the anacrusis to the next bar.

I kind of like them arco.  Besides, wouldn't it be too much switching between arco and pizzicato too quickly?

1 hour ago, Monarcheon said:

4. I don't think your slow section needs a key signature change, personally, especially because I don't hear your key centers as the implied I–bVI–IV of A-flat major. Think of it like musical theater: you change keys so goddamn much that sometimes it ain't worth it. (Also F-flat major is kinda obnoxious to read).

Perhaps you're right there.  I had planned for the middle contrasting section to be longer giving the key change more utility/necessity.

Your nit-picks are also duly noted.  Thanks again for your detailed review!

2 minutes ago, PeterthePapercomPoser said:

I haven't seen Three Blind Mice either.

Ah, I meant the children's song, "Three Blind Mice." Surely you've heard it (attached)? Anyway, it was fun to come back and see what's up.

4 minutes ago, PeterthePapercomPoser said:

I kind of like them arco.  Besides, wouldn't it be too much switching between arco and pizzicato too quickly?

I mean, that's totally fair; the arco would definitely give it a sharper bite. And nah, wouldn't be too quick; they player would keep the hand in the bow position while plucking it (though they may complain about it). Obviously, up to you.

I realize I may have come across as too negative with all the criticism—I think this piece is super cool and I'd love to hear the version with the expanded middle section if you ever get to it. 

Ah, hahaha!  How could I have forgotten about the "Three Blind Mice" song?  Yeah I can definitely hear the resemblance now.  You didn't come across as too critical at all!  I think we need more reviewers and string aficionados like you to be more active here giving the members some really great and much needed advice!  Thanks for your input!