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Trying to take some advice to heart of those who mean well to me...

Here is a trio with a set of instruments you won't find together that often, or so I am told. It's a trio for oboe d'amore, F-horn and cello. Tempo: high. Name: Perpetuum mobile.

Hope you enjoy and again: positive advice is always welcome.

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Your 16th notes alternating with rests really ought to be written as staccato 8th notes.

Are you sure this isn't a subtle attempt at fugue? :-P  Other than the opening, which doesn't conform to the "fugue formula" (whatever that means), there seems to be a lot of imitative counterpoint going on here. Perhaps not quite tightly-written enough to be considered a real fugue, but it certainly shows characteristics of fugal writing.  Maybe you should try writing a real fugue next. ;-)

Overall, it's surprisingly pleasant to listen to. I didn't quite hear the perpetuum mobile in there... it seems more like a divertimente-style piece or free-form fantasia.  But it's pretty relaxing to listen to.

I also like the diverse rhythms you put in here.  Definitely much more interesting variety than your earlier pieces. :-)

I did find the music somewhat lacking in focus, like it was just randomly cobbled together. (I know it's not, but it sounds like that.)  Maybe it would help give your pieces better structure if you made use of some cadential devices like I told you in the chatbox.

You might want to check up on the range/dynamics characteristics of your chosen instruments.  There's much more to writing effectively for an instrument than merely making sure your notes are within range. Unlike the piano or organ, most wind instruments may have drastic differences in sound in different parts of their range, and effective writing should take this into account. String instruments are more homogenous in sound, but there are still important timbral characteristics you should know about in order to take maximum advantage of the instrument.  I recommend studying your instruments more in-depth to find out where is their most effective range, what are the timbral characteristics of different parts of their range, and also consulting the literature for that instrument to get a feel for what sounds most idiomatic for that instrument.

(And don't trust what the midi rendering sounds like. The chances of it being totally off is pretty high.)

The conclusion doesn't seem quite strong enough. But perhaps that's intentional, since this is perpetuum mobile after all...

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