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So happy! Received a mastered audio track of my original string quartet "Reinvention"! Here is that awesome audio synced in with the sheet music. https://www.youtube.com/watch?v=QKOzr19S2UQ

One word... stunning! Not only do you play like a virtuoso, you compose like a maestro. Very Romantic, very moving, very inspiring! I'll be watching your musical career with great interest. Methinks you'll be going places.

Thanks Quinn. Yes, it starts at 2 octaves and as it builds up intensity I add a third. Thanks for all your kind words. The cliche of the tortured asshole composer is totally not true, all of you guys are super cool.

Thanks a lot for your comments. You are absolutey right about the fermatas ! You will see that the uploaded score is now revised. I kept the fermatas where I think they are justified. The ubiquitous fermatas were due to an accidental carry-over from another score. I usually work with two scores; one for electronic playback and a final one for real musicians. Without the fermatas in the playback version, you would get the impression of a steam engine at work. In a real performance, the pianist will of course intuitively feel where to make tempo changes, small pauses, rubatos etc.. This is very difficult to achieve with an electronic playback, but it is better than nothing. The choice of key is very important for me. If I would transpose the piece to another key, it would sound strange for me. Thanks again for your very useful feedback!

Hi, Tanju! The opening crescendo is stirring (love the big brass chords!), but perhaps there are one too many repeats of that. The middle "Lord of the Rings" section with the solo cello is quite soulful. I like how you brought back the beginning chords but with some arpeggiated stringwork—nice! Oh, and then the choir comes in (no idea what they're singing, but it sounds epic)... creates a nice build! You bring the brass back in a little too loudly, I'm afraid; drowns out the choir around 3:30. The crescendo around 4:00 is pretty epic, but the cutoff at 4:30 is even more epic. (And, honestly, it's kind of relieving... not sure how much more build my ears could take.) The section from around 4:45 to 6:30 is loud and dramatic, but I'd already heard it once before, so its effect is a little stunted. The dénouement to the end with the soloist, choir and quiet strings is welcome after such an intense onslaught of crashing cymbals and blaring brass. My overall impression of this work: nicely done! It followed a timeless story arc, and, as such, was enjoyable to hear. As far as good epic film music goes, this meets all the criteria (in my opinion). Plus, the sound library you're using is very realistic—makes it much easier to listen to than a MIDI rendering. I think that's a good thing! My only critique (without seeing the score) is that it's virtually indistinguishable from other epic music filmscores. Not necessarily a dealbreaker, but perhaps something to work on personally as a composer. Keep up the good work! Cheers, Tónskáld