Hi, Ben:

Regarding bar 26: nothing wrong with the transistion to the new theme. It works just fine.

I was referring to the fact that there is new key signature at bar 26, in the middle of the 1st iteration of the new theme. It's hard to tell, as you're writing very "modally", but I suspect the key change should be at bar 21 along with the time change.

1st movement of the sonata: what a rollicking ride! Lots of thematic ideas and dynamic changes. How much of this was entered in step-time and how much in real time? If you played it in, wow! If you step timed it, your persistence in obtaining natural-sounding dynamic changes is to be commended. Either way, well done.

At bar 111 and following, you've got some stabbed chords in the bass that show up as sixteenth notes coupled with a sixteenth rest. Composer has a feature under the Accents and Articulations tool bar that can take a note and an adjacent rest and turn them into a staccato articulation. That may be what you're looking for there. Also, I suggest care when using triads in the bass -- they tend to sound muddy. You may wish that effect, but I suggest trying it without the third and seeing if that lightens the sound for you. (Of course, as the composer,it's what your ear is pleased with that counts.)

David