Post by Kevin on Jun 6, 2014 11:33:51 GMT
All the works were considered and marked following the brief.. An intermediate, tonal work for Oboe and Piano. I have considered all works at length and in their entirety over several sessions..considering both the musical result and the composition structure.
March in the Olde Style. 10, A real joy to play, great developer of the players technique, an encouraging work for intermediates of all ages..Good structure and well considered. Well done, it left a good feeling and a happy melody which I am still humming.
Interlude for Oboe and Piano 9, Lovely work, I did feel it got a little lost at points but a moving lyrical work.
Hare and Tortoise 8, a special mention for this, I loved it but the Allegretto got a bit tricky for intermediates..
Sonata for Oboe (over time limit) 7, A lovely work but difficult keys such as Db present big problems for a intermediate Oboists as not all Oboes at this level have left hand Eb keys which makes fingering very tricky. Also rather over ran time frame which for intermediates makes this a long blow and very tiring.
Pastorale (over time limit) 6, Another very musical but very long work and the dreaded key of Db..that said, nicely considered and well constructed musically, this was one of the most musically generous works allowing the Oboist recovery time whilst keeping the musical interest with the key board part.. composition experience abounded here.
Nocturne for Oboe 5 A very challenging piece rhythmically, lovely but a little beyond the brief level, very musical but I felt it asked too much of an intermediate..that is not to take anything away from it, its a lovely work and well considered.
Nocturne for Oboe and Piano 4 , A work far greater than the requirement and well beyond most intermediates..rhythmically advanced in places which when added to accidentals and key changes put it just a reach too far for intermediates.
Bucolics 3, This was a moving work but Db is just too big an ask for intermediate Oboists it also became very complex in the Piu Mosso which was beyond the brief.
Deepening Sorrow 2. This had some nice ideas but sadly the composer didn't give the Oboist one rest in which to breathe and nowhere to release the lip and regain the muscle..not really fair on an intermediate wind player and nigh on impossible for an Oboist.
Scherzo 1 I hated down marking this but I had no choice. This is a masterful work in man places but simply missed the brief. This was far too advanced and was more in line for post graduate or Conservatoire level musicians..it was very demanding and far too difficult for the level set.
Bucolics: I like the lines a lot- the melodic voice is quite lovely. At times, I wish it was developed more- maybe the composer could try playing with the rhythm a bit more or augmentate or vary it, but it’s built on easily recognisable, accessible motifs that are pleasing to the ear. Granted, there are some very nice moments of syncopation and development, although I wish there were more of them. The dialogue that is used in the middle section and return of the A section (where you have referenced the B section a lot of the time, which I found gives it a nice, coherent structure) gives it a feeling that both instruments are active participants, and is good. The piano part seems good and playable certainly, although the oboe part is quite difficult.
At the tempo the composer has here, the oboe is indeed quite hard, as I have said. It is quite fast and the line jumps a lot, especially considering the speed (granted, I am no oboist). It also takes some time for the piano part to get going- in the beginning it doesn’t do much else than play chords held for long periods of time. I also wish the first modulation would be just a bit smoother- it surprised me a bit- the second one was well done though. Other than that, I think it’s a good piece, with a sound structural identity. (3)
Deepening Sorrow: The composer here seems to have chosen a variations form and does quite a few interesting things with the form. The melody seems to be in the oboe, and the theme is kept pretty much consistent most of the time, with the accompaniment changing. The tune itself it nice, but I think more could be done with the rhythmic profile. Granted, the profile that the composer has used does enable them to use triplet quarters with ease in the accompaniment in a subtle way.
The oboe does not get to breathe as often as one would wish, but other than that it is quite playable. The piano also has no difficulties technically. However, the right and left hand seem to have separate roles and don’t switch these roles much, which I feel could be played around with more. It looks as though the piano is mostly following the oboe though, and I would enjoy it if there was more of a dialogue between them- if the piano was given the line on its own at times, the oboe would be able to rest and it would sound more like a conversation. The title confused me a little at first, but I think the ending made it more clear. That was cleverly done. I think this is an interesting look on this form, and both the parts have interesting and pleasant lines. (1)
March in the Old Style: Great character and feel! There is no question at all about this being a march. Good choice of key, I think- and the composer has done well with the tonal ambiguity in the section after the repeat. The form would probably be some sort of altered minuet and trio or perhaps a sonata form with a truncated development. In the middle, the improvisational aspects of the oboe are interesting, especially the idea of an oboe cadenza.
In both parts, the music is quite idiomatic (as far as I can tell with the oboe- at least the piano appears to be). The repeated staccato chords, for instance, are a good effect and work quite well in executing the march feel. There are a couple instances where I think more could have been done with the piano texture (like where the composer has the staccato chords and then just drops the right hand while keeping the left hand octaves), but I think all in all it’s a very successful piece in many respects. (10)
Nocturne I: This is a very expressive piece, and quite evocative of the title. The piano is very well written, and I quite enjoy the polyphonic lines that are implemented much of the time. It’s very idiomatic. The oboe seems good for most of the time, although it gets quite tricky at the end. However, for the most part, it is given time to breathe and it’s well phrased. There is a nice dialogue between piano and oboe.
The harmonic language is rich and complex and draws the listener in. However, I found myself getting lost at times, as it shifts far and very rapidly. Perhaps sometimes the composer could consider expanding more on a single harmony and letting the listener take it all in for a moment before moving on to a new harmony. Nonetheless, the composer has been able to distinguish some formal boundaries with the help of the motifs introduced in the beginning. At times, I feel there could be more contrast between possible sections, but it manages to keep itself interesting all the way through and definitely draws in the ear with the harmonies used. (7)
Nocturne for oboe: The lines in this really draw the listener in and it’s quite fascinating how they are reused in so many different ways and places- I noticed myself looking for different motives that were used in various voices throughout. The composer has been quite creative in that respect, and I like especially the use of augmentation towards the end of the piece, of certain lines. The piano part is playable, although I do feel more could be done with the figures at times. There is a clear use of figuration and that could perhaps be more varied at times. As far as the oboe goes, the rhythm gets a little tricky for intermediates at times, and as a fellow oboist stated, “challenging keys… for an intermediate, A flat is a horror on the oboe and most intermediates would not have a left hand E flat key which would make it very tricky.” That being said, I feel the key does suit the piece, although it makes playability a possible issue on oboe.
I like the contrasts in activity and relative inactivity, although perhaps the piano could also have explored register a bit more… the oboe seems to use a relatively wide range. All in all, well constructed and good motivic integrity overall. (9)
Interlude: This is a very enticing, charming little piece. I kind of wish it was longer- it would be interesting to see what more the composer could do with this (granted, there is a time limit though). The beginning reminds me of Satie’s Gymnopedie in its simplicity, and this is an example of a piece which is simple and elegant.
There are many very good things here; the canonic elements and how those are incoporated seamlessly into the structure, for example, is great. It gives the piece a distinct feeling of dialogue and of balance. The way it appears at the end, in particular, is a lovely touch. There are a couple small issues that I do have; in the middle, the oboe does have a rather long time without a breath, and the oboe also tends to stay in one range for most of the time (although it does move into the higher range as well). On range, though, I should mention that the composer appears to have accounted well for the oboe becoming softer as it goes up in range, as opposed to many other instruments, which is well done. The range of the piano is also used well- it uses the soft, bright upper register to end the piece. Although it’s a bit short and I feel I’m just getting a taste of what could be in some cases, it’s quite well done and I enjoy many aspects of it. (8)
Oboe sonata: The composer did a good job with making this a sonata- the outer movements have clear forms typical to such a piece. This piece is a bit on the longer side, as it is comprised of three shorter movements. In the first movement, the first theme is nice and has that characteristic triplet which makes it so recognisable. While the second theme group is slightly less clear, it is nonetheless recognisable. If it weren’t for the time limit, I would suggest expanding the developmental section, although I feel a lot of what happens within that section is quite good; the characteristic harmonic instability, for instance, and the hints at the theme groups are well done. In terms of the playability, the oboe looks decent although I can’t say much more. The piano is quite good and I especially enjoy some of the figures employed in the top register- that would be a very nice effect. Perhaps my favorite moment in terms of that happens toward the beginning, at the bottom of the first page. I do wish that were brought back later, it’s such a nice gesture.
In terms of the second movement, the composer’s way of bringing the piece into D flat major f dotted rhythms. with that ambiguous sixth is quite nice and provides a relatively smooth transition. However, perhaps the composer could consider making it even smoother by playing around with the first intevals/notes of the second movement, or the last notes of the first movement. Nonetheless, this is a lovely contrasting movement to the rather active first movement (and to the third). I like the technique of gradually expanding the piano’s range into the extremes while keeping the oboe steady, at least the way it’s been done here. It’s quite effective. There are a couple instances where I feel the line breaks more than it needs to, but I really enjoyed this movement otherwise.
The figuration in the third movement is nice, although I feel the composer could definitely play around with it more and weave more lines through it at times. Even though it moves, it can almost get static because the chord sometimes stays the same for quite a while (in terms of both harmony and inversion). In the oboe part, there are some lovely rhythmic figures though- good use of dotted rhythms. There are a couple instances, again, where I feel it could be more continuous- for example, at K I feel something more could be done to keep the rhythm going, and there are a couple instances where I feel the line breaks unnecessarily. Overall though, it has a nice flow and works as a rondo. (5)
Pastorale: In general, the piece has a good flow and rhythm. It seems to be mostly through composed, although based on a distinct tune that appears at the beginning, so a bucolic fantasie, if you will. The mood and rhythm is quite nice and does indeed remind me of many pastoral-type pieces, of quiet country idyll for much of the time. In the end, the beginning is brought back quite nicely in the home key, similar to how it was in the beginning- it provides nice closure, especially with the way the codetta stems from that.
The piano part is quite playable, and the oboe phrasing is nice. However, the piece does go into more difficult key areas (for the oboe anyway), with some rather tricky passages. There are also extended passages in which the oboe doesn’t play much, and it seems at times that the attention is focused more on the piano than the oboe. There are other times, though, when good dialogue does ensue. I should also mention that the piece is a bit on the longer side though.
There are some really nice touches in here- the rolled chords, for instance, work quite well, and some of the shifting harmonies are really quite lovely. (6)
Scherzo: There are definitely many intriguing moments, and the rhythm is quite interesting. I like the use of quintuplets, although usually they are at quite a fast tempo. For a scherzo, this piece certainly fits some expectations I have of it as having a sort of running, crazy feeling and being rhythmically driven. The piano writing is good for the most part, although there are some potentially awkward spots (fast repeated notes for the most part). The oboe seems quite difficult and sometimes I get confused with the harmonies that are caused by the oboe interacting with the piano.
Although there are clear harmonic and formal patterns, it was slightly confusing to follow at times, although the unexpected directions could definitely be refreshing at times. The phrasing is quite nice overall, and the lines are well shaped in general. (2)
The Tortoise and the Hare: Very enjoyable piece- the programmatic title and nature of the piece are both very clearly set- there’s no ambiguity. Well done in that respect. The composer has well marked a contrast rhythmically and metrically, which is indeed the case between tortoises and hares. Perhaps they could employ other devices to enhance this contrast… for example, they could play more with register and harmony. The piece itself was pretty easily understood and conceptualised, apart from the codetta which was a nice surprise (although perhaps the transitions could be smoother there).
The oboe writing seems good for the most part- it gets tricky in the allegretto, but good otherwise. The piano is playable certainly, but seems to serve mostly an accompanimental role instead of sharing the melodic line much. In the slower sections it somewhat reminds me of chorale writing and it might be interesting to consider using some sort of figuration at times. I guess the slow nature of that section and piano part reflects the turtle, which is apt and works. In general, it’s a good piece with a nice sense of the narrative implied by the title. (4)
Totals
Sonata 7 5 5
Tony Matthews 17
Interlude 9 8 4
Kevin Riley 21
Nocturne (Oboe) 5 7 2
Tony Jefferson 14
Nocturne 4 9 1
John Biggs 14
March 10 10 1
Kedanath Awati 21
Pastorale 6 6 1
Adrian Allen 13
Bucolics 3 3 1
Charles Gaskill 7
Tortoise and Hare 8 4
Allan Jones 12
Deppening Sorrow 2 1
Anne Goodwin 3
Scherzo 1 2
Viet Koeninger 3
The marks are points scored by the judges and the members votes cast for each piece.(Some of the pieces were not voted for so do not have a third score.)
Many thanks to the judges for taking their time to comment on these works and congratulations to the joint winners!
March in the Olde Style. 10, A real joy to play, great developer of the players technique, an encouraging work for intermediates of all ages..Good structure and well considered. Well done, it left a good feeling and a happy melody which I am still humming.
Interlude for Oboe and Piano 9, Lovely work, I did feel it got a little lost at points but a moving lyrical work.
Hare and Tortoise 8, a special mention for this, I loved it but the Allegretto got a bit tricky for intermediates..
Sonata for Oboe (over time limit) 7, A lovely work but difficult keys such as Db present big problems for a intermediate Oboists as not all Oboes at this level have left hand Eb keys which makes fingering very tricky. Also rather over ran time frame which for intermediates makes this a long blow and very tiring.
Pastorale (over time limit) 6, Another very musical but very long work and the dreaded key of Db..that said, nicely considered and well constructed musically, this was one of the most musically generous works allowing the Oboist recovery time whilst keeping the musical interest with the key board part.. composition experience abounded here.
Nocturne for Oboe 5 A very challenging piece rhythmically, lovely but a little beyond the brief level, very musical but I felt it asked too much of an intermediate..that is not to take anything away from it, its a lovely work and well considered.
Nocturne for Oboe and Piano 4 , A work far greater than the requirement and well beyond most intermediates..rhythmically advanced in places which when added to accidentals and key changes put it just a reach too far for intermediates.
Bucolics 3, This was a moving work but Db is just too big an ask for intermediate Oboists it also became very complex in the Piu Mosso which was beyond the brief.
Deepening Sorrow 2. This had some nice ideas but sadly the composer didn't give the Oboist one rest in which to breathe and nowhere to release the lip and regain the muscle..not really fair on an intermediate wind player and nigh on impossible for an Oboist.
Scherzo 1 I hated down marking this but I had no choice. This is a masterful work in man places but simply missed the brief. This was far too advanced and was more in line for post graduate or Conservatoire level musicians..it was very demanding and far too difficult for the level set.
Bucolics: I like the lines a lot- the melodic voice is quite lovely. At times, I wish it was developed more- maybe the composer could try playing with the rhythm a bit more or augmentate or vary it, but it’s built on easily recognisable, accessible motifs that are pleasing to the ear. Granted, there are some very nice moments of syncopation and development, although I wish there were more of them. The dialogue that is used in the middle section and return of the A section (where you have referenced the B section a lot of the time, which I found gives it a nice, coherent structure) gives it a feeling that both instruments are active participants, and is good. The piano part seems good and playable certainly, although the oboe part is quite difficult.
At the tempo the composer has here, the oboe is indeed quite hard, as I have said. It is quite fast and the line jumps a lot, especially considering the speed (granted, I am no oboist). It also takes some time for the piano part to get going- in the beginning it doesn’t do much else than play chords held for long periods of time. I also wish the first modulation would be just a bit smoother- it surprised me a bit- the second one was well done though. Other than that, I think it’s a good piece, with a sound structural identity. (3)
Deepening Sorrow: The composer here seems to have chosen a variations form and does quite a few interesting things with the form. The melody seems to be in the oboe, and the theme is kept pretty much consistent most of the time, with the accompaniment changing. The tune itself it nice, but I think more could be done with the rhythmic profile. Granted, the profile that the composer has used does enable them to use triplet quarters with ease in the accompaniment in a subtle way.
The oboe does not get to breathe as often as one would wish, but other than that it is quite playable. The piano also has no difficulties technically. However, the right and left hand seem to have separate roles and don’t switch these roles much, which I feel could be played around with more. It looks as though the piano is mostly following the oboe though, and I would enjoy it if there was more of a dialogue between them- if the piano was given the line on its own at times, the oboe would be able to rest and it would sound more like a conversation. The title confused me a little at first, but I think the ending made it more clear. That was cleverly done. I think this is an interesting look on this form, and both the parts have interesting and pleasant lines. (1)
March in the Old Style: Great character and feel! There is no question at all about this being a march. Good choice of key, I think- and the composer has done well with the tonal ambiguity in the section after the repeat. The form would probably be some sort of altered minuet and trio or perhaps a sonata form with a truncated development. In the middle, the improvisational aspects of the oboe are interesting, especially the idea of an oboe cadenza.
In both parts, the music is quite idiomatic (as far as I can tell with the oboe- at least the piano appears to be). The repeated staccato chords, for instance, are a good effect and work quite well in executing the march feel. There are a couple instances where I think more could have been done with the piano texture (like where the composer has the staccato chords and then just drops the right hand while keeping the left hand octaves), but I think all in all it’s a very successful piece in many respects. (10)
Nocturne I: This is a very expressive piece, and quite evocative of the title. The piano is very well written, and I quite enjoy the polyphonic lines that are implemented much of the time. It’s very idiomatic. The oboe seems good for most of the time, although it gets quite tricky at the end. However, for the most part, it is given time to breathe and it’s well phrased. There is a nice dialogue between piano and oboe.
The harmonic language is rich and complex and draws the listener in. However, I found myself getting lost at times, as it shifts far and very rapidly. Perhaps sometimes the composer could consider expanding more on a single harmony and letting the listener take it all in for a moment before moving on to a new harmony. Nonetheless, the composer has been able to distinguish some formal boundaries with the help of the motifs introduced in the beginning. At times, I feel there could be more contrast between possible sections, but it manages to keep itself interesting all the way through and definitely draws in the ear with the harmonies used. (7)
Nocturne for oboe: The lines in this really draw the listener in and it’s quite fascinating how they are reused in so many different ways and places- I noticed myself looking for different motives that were used in various voices throughout. The composer has been quite creative in that respect, and I like especially the use of augmentation towards the end of the piece, of certain lines. The piano part is playable, although I do feel more could be done with the figures at times. There is a clear use of figuration and that could perhaps be more varied at times. As far as the oboe goes, the rhythm gets a little tricky for intermediates at times, and as a fellow oboist stated, “challenging keys… for an intermediate, A flat is a horror on the oboe and most intermediates would not have a left hand E flat key which would make it very tricky.” That being said, I feel the key does suit the piece, although it makes playability a possible issue on oboe.
I like the contrasts in activity and relative inactivity, although perhaps the piano could also have explored register a bit more… the oboe seems to use a relatively wide range. All in all, well constructed and good motivic integrity overall. (9)
Interlude: This is a very enticing, charming little piece. I kind of wish it was longer- it would be interesting to see what more the composer could do with this (granted, there is a time limit though). The beginning reminds me of Satie’s Gymnopedie in its simplicity, and this is an example of a piece which is simple and elegant.
There are many very good things here; the canonic elements and how those are incoporated seamlessly into the structure, for example, is great. It gives the piece a distinct feeling of dialogue and of balance. The way it appears at the end, in particular, is a lovely touch. There are a couple small issues that I do have; in the middle, the oboe does have a rather long time without a breath, and the oboe also tends to stay in one range for most of the time (although it does move into the higher range as well). On range, though, I should mention that the composer appears to have accounted well for the oboe becoming softer as it goes up in range, as opposed to many other instruments, which is well done. The range of the piano is also used well- it uses the soft, bright upper register to end the piece. Although it’s a bit short and I feel I’m just getting a taste of what could be in some cases, it’s quite well done and I enjoy many aspects of it. (8)
Oboe sonata: The composer did a good job with making this a sonata- the outer movements have clear forms typical to such a piece. This piece is a bit on the longer side, as it is comprised of three shorter movements. In the first movement, the first theme is nice and has that characteristic triplet which makes it so recognisable. While the second theme group is slightly less clear, it is nonetheless recognisable. If it weren’t for the time limit, I would suggest expanding the developmental section, although I feel a lot of what happens within that section is quite good; the characteristic harmonic instability, for instance, and the hints at the theme groups are well done. In terms of the playability, the oboe looks decent although I can’t say much more. The piano is quite good and I especially enjoy some of the figures employed in the top register- that would be a very nice effect. Perhaps my favorite moment in terms of that happens toward the beginning, at the bottom of the first page. I do wish that were brought back later, it’s such a nice gesture.
In terms of the second movement, the composer’s way of bringing the piece into D flat major f dotted rhythms. with that ambiguous sixth is quite nice and provides a relatively smooth transition. However, perhaps the composer could consider making it even smoother by playing around with the first intevals/notes of the second movement, or the last notes of the first movement. Nonetheless, this is a lovely contrasting movement to the rather active first movement (and to the third). I like the technique of gradually expanding the piano’s range into the extremes while keeping the oboe steady, at least the way it’s been done here. It’s quite effective. There are a couple instances where I feel the line breaks more than it needs to, but I really enjoyed this movement otherwise.
The figuration in the third movement is nice, although I feel the composer could definitely play around with it more and weave more lines through it at times. Even though it moves, it can almost get static because the chord sometimes stays the same for quite a while (in terms of both harmony and inversion). In the oboe part, there are some lovely rhythmic figures though- good use of dotted rhythms. There are a couple instances, again, where I feel it could be more continuous- for example, at K I feel something more could be done to keep the rhythm going, and there are a couple instances where I feel the line breaks unnecessarily. Overall though, it has a nice flow and works as a rondo. (5)
Pastorale: In general, the piece has a good flow and rhythm. It seems to be mostly through composed, although based on a distinct tune that appears at the beginning, so a bucolic fantasie, if you will. The mood and rhythm is quite nice and does indeed remind me of many pastoral-type pieces, of quiet country idyll for much of the time. In the end, the beginning is brought back quite nicely in the home key, similar to how it was in the beginning- it provides nice closure, especially with the way the codetta stems from that.
The piano part is quite playable, and the oboe phrasing is nice. However, the piece does go into more difficult key areas (for the oboe anyway), with some rather tricky passages. There are also extended passages in which the oboe doesn’t play much, and it seems at times that the attention is focused more on the piano than the oboe. There are other times, though, when good dialogue does ensue. I should also mention that the piece is a bit on the longer side though.
There are some really nice touches in here- the rolled chords, for instance, work quite well, and some of the shifting harmonies are really quite lovely. (6)
Scherzo: There are definitely many intriguing moments, and the rhythm is quite interesting. I like the use of quintuplets, although usually they are at quite a fast tempo. For a scherzo, this piece certainly fits some expectations I have of it as having a sort of running, crazy feeling and being rhythmically driven. The piano writing is good for the most part, although there are some potentially awkward spots (fast repeated notes for the most part). The oboe seems quite difficult and sometimes I get confused with the harmonies that are caused by the oboe interacting with the piano.
Although there are clear harmonic and formal patterns, it was slightly confusing to follow at times, although the unexpected directions could definitely be refreshing at times. The phrasing is quite nice overall, and the lines are well shaped in general. (2)
The Tortoise and the Hare: Very enjoyable piece- the programmatic title and nature of the piece are both very clearly set- there’s no ambiguity. Well done in that respect. The composer has well marked a contrast rhythmically and metrically, which is indeed the case between tortoises and hares. Perhaps they could employ other devices to enhance this contrast… for example, they could play more with register and harmony. The piece itself was pretty easily understood and conceptualised, apart from the codetta which was a nice surprise (although perhaps the transitions could be smoother there).
The oboe writing seems good for the most part- it gets tricky in the allegretto, but good otherwise. The piano is playable certainly, but seems to serve mostly an accompanimental role instead of sharing the melodic line much. In the slower sections it somewhat reminds me of chorale writing and it might be interesting to consider using some sort of figuration at times. I guess the slow nature of that section and piano part reflects the turtle, which is apt and works. In general, it’s a good piece with a nice sense of the narrative implied by the title. (4)
Totals
Sonata 7 5 5
Tony Matthews 17
Interlude 9 8 4
Kevin Riley 21
Nocturne (Oboe) 5 7 2
Tony Jefferson 14
Nocturne 4 9 1
John Biggs 14
March 10 10 1
Kedanath Awati 21
Pastorale 6 6 1
Adrian Allen 13
Bucolics 3 3 1
Charles Gaskill 7
Tortoise and Hare 8 4
Allan Jones 12
Deppening Sorrow 2 1
Anne Goodwin 3
Scherzo 1 2
Viet Koeninger 3
The marks are points scored by the judges and the members votes cast for each piece.(Some of the pieces were not voted for so do not have a third score.)
Many thanks to the judges for taking their time to comment on these works and congratulations to the joint winners!
#: - it's in E minor :-). Also, I think it would be easier to read re-notated in 3/4 with double note values and therefore a speed of :4: =90. The key signature (:F#: minor) at letter F doesn't seem right - maybe bring the opening key signature back at this point, and put in :C#: where necessary? The rehearsal marks are too close together.
). For my tastes, the slower bit meanders too much, with not enough correspondence between piano and oboe. The faster section has more harmonic sense. Is the bit in F major everything just transposed up a perfect fourth? Not convinced by the adagio bars 82 / 83 and there is too much pedal (unless mush is what you want, but this seems out of keeping with the rest of the piece). Should "poco piu mosso" bar 84 be "tempo primo"? Like the ending - very nice (like the way that :Eb: turns into