I wrote "Titanic Rescue" not being inspired by the music of the film. On the contrary, it seems primitive, boring and not reflecting anything considerable. I was outraged by the movie's content, and I decided to write a scenario, as it should be.
I supposed to compose a fantasia for one violin with piano, counting on that I'll record it with a familiar violinist. Such a combination of instruments was not too comfortable.
Due to original Titanic themes, there was no need in the second violin at the beginning of the piece. But further, there is a lot of my music. For that reason, nothing is surprising that the second violin became necessary.
Initially, it was clear that the unison duplication will be essential in one fragment (as well as the division in the end). It was required to create the resonance that was attainable only by adding one more string instrument.
Usually, I choose an instrument combination thoroughly, depending on a story. This time I experimented and concluded: if my soul requires definite instruments, I should write for them.