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I really like how you've set this text. The way you've used melismas and repeated fragments makes everything flow really naturally and intuitively. This is not easy when working with such a prosaic text. On the whole, I think it's a really charming, effective composition, but the work with melody, phrase structure, and text setting are especially nice. I agree with the others that the piano part shouldn't be a problem, but you could renotate some of the rhythms to make it even easier to sightread. The recurring rhythm you have in mm. 1, 3, 5, etc. should be rewritten with ties to show every beat. (Basically, it's good practice to show every beat that has 16th notes in it--see the "rhythm" section under https://blogs.iu.edu/jsomcomposition/music-notation-style-guide/ for a better explanation than I can give. This page also explains why it's good to show the 3rd beat in mm. 2, 4, 6, etc.) The individual voice lines are all really nice, but there are some harmonies that could be revoiced for better balance, easier tuning, and a clearer sound. Like in m. 65, the lack of a root in the voice parts combined with the overtones from the doubled 3rd might create the impression that the choir is singing a different chord from the piano. Not a bad thing by itself, but since singers tune by ear, it's likely to create intonation problems and a muddy sound in less advanced choirs. (And even when you're not missing the root, doubling the 3rd of a major triad can destabilize a choir's intonation, since its overtones clash with the root and the 5th.) By a somewhat similar token, in m. 45, I really like the move to B minor 7... but it's undermined by the lack of a root in the voice parts (and again, the same sense that the choir is singing a different chord from the piano).

Yeah, various people ( @Ivan1791 @Bradley Scarff ) have held composition challenges or cadenza composing challenges. There have also been competitions where members were given a melody (by Takashi Yoshimatsu in this particular instance) and everyone composed their own variations on that same melody or just elaborated on it (the melody from his piano piece "Waltz of the Rainbow Colored Roses"). There's lots of possibilities - there could be a variations event again or an orchestration/arranging event where members all take the same short (or not so short) piano piece and orchestrate it for their choice of ensemble. If there's interest in this you or I could eventually create a poll with all the various options. Great idea!

Thank you, Peter. I used Kontakt libraries for this piece of music, so the singer isn't real too. The book is about powerful gods and demons. I try to translate the promotional recommendation, but my English is not so well. The Nakara Myth - The Cursed Land is the first book of a dark mood world-creating fantasy, which guides the reader into an original universe. The story is about the fight between powerful gods and demons. These supernatural beings use magical creatures and mortal people for their purposes. Atun, the creator tries to protect the world from Arkalla, who wants to destroy the whole Universe from her prison because of her revenge.

Thank you, bro, it is indeed no. 1, I'm working my way though them. Seems that, unsurprisingly, orchestral arrangements can make a not so great piano piece a lot better On an unrelated note, ever thought of having some group activities here? Strengthen this community. Something like, you give the beginning of a melody then others have to build on top of it and continue it, or writing variations for a given theme, I think it could be fun and useful as an exercise to composing

Hey! I recognize this piece from your "8 Ideas" post of piano pieces. I think this was number 1. I like how you included a short introduction in the trombone/tuba in this version. And you also seem to have extended your idea and ended it on a somewhat final sounding chord with a suspension. The tempo and style of percussion you employed in this arrangement are perfect for a stately march. Nice job - I really like what you've done with the piece and I hope you continue to try and orchestrate your piano pieces - I hope it was a fun and rewarding exercise for you. Thanks for sharing!

A dark and grim piece! I like the ending on a half-cadence - leaves one feeling like one has heard an introduction and I almost expect a narrator to come in with a reading of your book. There is a place in the recording that seems jarring/clipped especially in the voice (at 1:39). I don't know if that's fixable. Also some of those phrases you have in the voice sound too long like the singer might run out of breath (1:31 - 1:45). Besides just those few things this piece is very well rendered and produced! Congratulations and thanks for sharing! Do you plan on translating your book into English? What is it about?