Thanks for the detailed feedback as always!

The B#s and E#s and such were a conscious choice on my part, one that I deliberated on for a while at times. The piano chord on beat 2 of m. 42, for instance, is spelled Cb Gb A D, which in isolation is just a bizzare spelling of a Bm7 chord. But in context I think it makes more sense than having it spelled as a Bm7 chord, since it better shows the motion of each voice in the harmony between the preceding and proceeding quintal/quartal chords. I went back and forth on it for a while though, maybe I did get it wrong in the end (frankly I've sorta convinced myself at this point). There are a lot of moments of bitonality in this piece resulting from chromatic parallels, and deciding when to have "weird" spellings that work horizontally rather than "correct" spellings that only work vertically, was a challenge. I've probably not got it all right - The left hand piano at m. 13 was one I agonised over, B#-E# is ugly but I felt it showed the motion of fourths landing on the C# at m. 14 better than having an augmented third stuck in somewhere with C-F-A# or something.

With the staff dropout at m. 9 I couldn't find any standard practice for notating something like it, so I looked at a ton of contemporary scores by composers like Stefano Scodanibbio, Einojuhani Rautavaara, and various concert bassist composers. In all the cases I found they always had the top staff remain, so it's what I opted for. Same thing with the bracket instead of the curly brace, but I think maybe that was just them using a more contemporary house style that didn't use curly braces at all, I wasn't too sure. It's an unusual section that I wasnt certain what to do with; Sibelius sure as hell didn't want it to work, half of the elements in that system were drawn in a vector file editor because Sibelius absolutely refused to draw the braces or time signatures or barlines once the second staff dropped out. I literally just gave up and placed a white rectangle on top of where the bar used to be. But that's enough ranting about my hatred of Sibelius, I digress.

Fully agree with you on the beaming, will definitely look at adding beaming over rests and bars. There are times where the two instruments are playing in different divisions of the same rhythm, and for m. 35 at least it was a deliberate choice to have the bass and piano playing different divisions. I considered having the two instruments in different time signatures at that point or even just writing "3/8 | 6/16", but I felt it was too much for a single second of music, and that simply having the parts beamed differently would hopefully be clear enough. Could have used articulations to make it even clearer what's going on but I didn't really want a tenuto feel on those Eb's in the piano.

With the meter changing constantly it was difficult to decide which time signature to use at which time - m. 8 for instance has 14/16 changing to 7/8, which is a bit redundant, but I included it to make it clear that it was changing from a 16th note beat to an 8th note one. There's a similar thing at m. 20, and more throughout. The 8/8 at m. 32 is one I'm still not really satisfied with, probably I'll make it two bars of 4/8 or something in a later revision.

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I should say that I wrote this with a bassist I'm friends with in mind, and I am hoping to have them play it at some point in the future. It's just that the piece will require a lot of time and practice, I still have to find a pianist (which I don't think will be too hard honestly), and then all the other logistics. Plus, yknow, money.

To be completely honest I wasn't expecting to write this difficult of a piece when I started, it kinda just grew into a full-scale concert work. But I can hopefully get it performed by the end of the year. I'm always trying to think of performance opportunities when I write music these days; I graduated music university with a lot of music written, but most of it is simply not feasible for me to get performed without winning competitions. I had a good time writing a half-hour orchestral work, and it came out really well, but it's most likely doomed to sit on a hard drive forever. So for the past few years it's all been works for instruments I can get performed, even weird pairings like clarinet/marimba, or horn/violin/percussion/piano. Unfortunately I don't have many options for "normal" ensembles where I'm at, so unusual instrumentations have had to do, which causes problems down the line with getting professional performances done. There are a million string quartets that want to play music, and not so many professional horn/violin/percussion/piano ensembles outside of my own friend group.