I didn't put my music here to defend my notation.  I put it on this forum to share and ask for feedback. I like people to be honest. I thank you for your comments.

Unfortunately, the recording emphasises the piano part. I was at the recording and the balance was great. It was recorded on one track therefore it is difficult to re-adjust the balance. Sorry.

At last...Here is a whole performance of Adieu, rather than snippets.  This video has all of the music and most of the score.  It is a live recording.  I hope it shows you what I was trying to achieve. Please enjoy:

Adieu

I have just heard back from the pianist and he has given me permission to put the whole performance on Youtube. Hopefully, I can get a full recording up in the next few days.

I have to admit I do like the look of a 'busy' score.  It's nothing compared to a composer like Ferneyhough; he has his own unique style.

Ahinton, if I could save time by by using the term 'sempre', I would but a lot of the time it would create confusion rather than solve it.

Ahinton, I was really surprise when you mentioned Percy Grainger's name.  But have a look at this

I suppose he could have written 'sempre' after the first lot of accents and 'foot pedalling'.  However, that couldn't work if your changing the type of accents and the type of pedalling all of the time.  Is this what you mean?

A lot of people have talked about the over use of accidentals in this work but there are a few famous composers that do put accidentals on every note.  There are also many occasions where in one bar there would be a 'd' without a an accidental, a 'd' with a natural (a flattened note) and a d sharp or flat in close proximity.  It can be very confusing.  In the days when I  put accidentals only on the initial note, I once had a rehearsal when the musicians stop every few minutes because someone else had a different accidental for the same letter name(e.g. one person had a 'd' and another person had a 'd' flat later on in the bar).  It was very frustrating.  Since then, I put them on every note.  There can be no confusion (or stopping).

Thank you for taking an interest.

I don't understand what you mean about Christopher Redgate answering my question.  I made a suggestion to the administrator of this forum for there to be a 'members own composition thread'.  I would like to know how people feel about music. I would like everyone to explain their own music.  It is interesting to me and I hope to others. I am sure that you are a member of more than one forum. What does it matter?  Surely, everyone would like show their work to the biggest number of people possible so that I can gather information about my music and hopefully kind comments.  I don't think that this is strange. I am also a member of Facebook.
If you read the questions and the comments on those websites, you will see there is a different focus.  For example, the talk classical forum dissected the notation.  They talked about over using accidentals.  Whereas the French forum, concentrated on the emotional impact of the music. They called it humorous which I could understand at first. This is feedback from a small number of people. Obviously, the larger the group of people the better the feedback.  If I was plastering my music on every website possible day after day, I could understand your apparent indignation.  Forums are helpful to composers like me.  It is a real opportunity to directly speak to real people.  I am obviously keen to help people get involved in my music.  Sometimes, I may be too keen and I apologise for that.
The extract is so short because I want to protect my rights as a composer.  It also marks a natural break in the music- the piano starts immediately afterwards. Thirty seconds is very short and I will allow a longer viewing at a later stage when I get feedback I require. I have answered all of your questions can you answer mine, please.  What do you think of my piece?  I have received feedback about notational issues, title, emotions...the choice is yours.

The rapid changes of dynamics subtly alters the instrumental colour. I don't think you're being critical. You're being curious which is a good thing because you are thinking deeply about what you are encountering.

Please give feedback.

Sorry, it was working this morning.
http://youtu.be/tZ2NtcppXos

It is an honour to be the first member to post something on this new thread.  I hope it is a success. I have been a composer for many years now.  This piece of music was written some years ago, after a tragic incident.  However, I have come to understand it has a different meaning to me.  It is a duet for oboe and piano but the extract that I have chosen is so short you will only hear he oboe.  The look of the score is very complex but the sound of the music is much less difficult.  It is beautifully played by Christopher Redgate.  Please feel free to discuss any aspect of the work.

Adieu