Hello @Alex Weidmann , this post is a bit „off topic“, I wanted to respond to your yesterday’s post „Drozdov - Au Tombeau De Rachmaninoff (orchestration)“, which has now disappeared (for good reasons). But the “internet” never forgets (I, fortunately had the page still open ... 🤪), so I can quote one of your lines: „I'm totally hooked on orchestration now. You enter notes from a score, like a recipe, and something magical comes out! And it's in a form no one's ever heard before. What could be better than that?„ Yes, that’s been my experience too, that - while it does take a lot of effort to expand a piano piece (let’s say with four or six voices) to an entire orchestra which literally has more than 30 „tracks“ that can be used – it is really fun to play around with the instruments. Normally, my compositions are for piano (and I think I’ll continue to compose pieces entirely for piano first, before I begin orchestrating them), so that I thought for a long time, I would not be interested in pieces for full orchestra. But there were two experiences during the last few month which have caused my interest in orchestration to grow more and more: First, there is a choir and an orchestra in Berlin (the “Orso Choir”) that were founded by a very dynamic man and are under his direction. About twice a year, they perform special arrangements orchestrated by the conductor at the Berliner Philharmonie —for example, interpretations of rock music, film scores, or even themes from video games. And even though these genres aren’t usually among my interests, it’s great fun to watch the conductor “play” with his “toy”—the symphony orchestra. The second was a performance of of Dvořák’s “Stabat Mater” with a full orchestra and a massive choir (430 singers). This was a real fun, not only because of the bombastic sound, but also because I was able to follow Dvořák’s orchestration live. For example, in the opening movement, Dvorak stays very long on the harmonies and even single tones – letting them „rotate“ through the entire orchestra. At one point, you hear and see the cellos playing a chord while the double basses accompany them with pizzicato. A moment later, you can still hear the chord, but you see that the cellos have stopped playing, and after a moment of surprise, you realize that the horns have taken over and the pizzicato has been reinforced by the timpani. Yet the transition was so seamless that you didn’t even notice the change in instruments, only a slight shift in timbre. So, let’s go on orchestrating (and composing)! Wieland