Very nice work
I liked this overall, am only going to comment on problems and things that could be improved possibly.
1) Diminished chord at :28 sounds "out of style" to my ears
2) At :40 I felt that the bass could be a little stronger to support the chord structure. Its possible to add a a lower octave to reinforce the bass and keep some of those figuration in the left hand going. Overall, I'm not feeling like the range of the instrument is being explored. That's ok, but, it sounds like some of your figuration would sound more airy and ethereal slightly higher, more commanding and booming lower.
3) It feels like you are regarding the "left hand" and "right hand" as two separate components here. This is limiting the textural interest of your piece. For example, in the left hand just before 1;00, I'd love to hear another voice brought out. Check out "Doctor Gradus ad Parnasum" from Debussy's children's corner or some of Liszt's flowy work (bord d'une Source for example) for some flowing writing that works as texture and as nested voices. Working with solo piano is a limitation, but I feel you aren't pushing the envelope of the textures you could be using here.
4) An implied extra voice is a great way to make a piano texture sound interesting. In the fast moving figures at :10 for example, I'd love to hear a slower counter melody brought out from within. Even using the same note outline you have now, you could add textural accents. Think in "layers" of sound to give your piece a more engaging texture.
5) At :36 you introduce an extra voice in the right hand that promptly vanishes. I'd love to see some of that texture continue on. Taking the voice away makes what follows seem emptier.
6) 1:20 could really benefit from an eight note counter melody. I think you're trying to make this sound slightly ghostly and mysterious here... I think you could improve the effect by wandering a bit higher into the piano register.
7) Work on your transitions. Make sure musical ideas flow seamlessly together. 1:02 seemed really abrupt to me, as did 1:18 and :48. Listen to some Bach to see how his phrases end and begin at the same time, how everything connects and flows. Make the listening experience smoother. (Again, there are times when being abrupt works, but I didn't think you were going for that effect intentionally as part of your voice)
8) As an add-on to the last point, work on not starting all of your phrases on the downbeat. Have new textures and lines spring up organically throughout the rhythmic structure. It will make everything sound less like its Lurching from idea to idea.
Looking forward to hearing more of your work!
Awesome review. REALLY helpful.
I thought all the great composers were dead...
This piece is amazing. It has the "simple yet intensely complex" sensibilities of a Debussy, the flowing yet shocking chord progressions of a Stravinski, and just a touch of Shostakovich' raw mania. This piece is a glowing, vibrating ball of pure emotional energy. Absolutely beautiful. Thank you!!!
I love controversy!
It's contrived by outside-the-box thinkers, which a lot of people consider as change and aren't used to or they're afraid of it. BRING IT ON, I say...oh, and I'm also saying I love these songs. Wonderful piano. :)
I am a huge fan of piano, and I always have respect for people who play them. This is a really nice piece, good job. You're an inspiration to me as a new player too
Please contact me if you would like to use this in a project. We can discuss the details.