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Hi Mr. Chkheidze, welcome to our forums. The overture sounds wonderful, as well as the second movement, but I was revising the score of the first movement you submitted and I see that it gets cut off. In the last page (78) you can see it clearly. I suppose that it goes attacca but if it does, I have no way to know just from the score alone. It seems like the movement does not finish there. My suggestion —in case it was cut off— would be trying to export it as A3 or even bigger paper so there's enough space. It's true that even in that case, it's not easy to follow a score of such dimension. If this was not cut off, I would suggest a double bar at the end or a double final bar, marking "attacca subito" if you intend to keep going to the second movement without pause. Maybe you do know about this, but just in case! That you release this (or the final, recorded product, I suppose) in Vinyl is surprising to me, just as a note. Is it costly? Now on the piece itself, I would say that you have a lot of ideas, and you sure know how to make bombastic stuff that could fit very well in a soundtrack. I normally listen to the works twice or thrice before emitting some judgement, because often a single listen is not enough for me to grasp enough details or places I would like to stop and comment. While writing this comment I'm listening to the work for the second time and as I progress in the piece I see that this great music you have brought us may err on the side of excess, in my humble opinion. Excess of bombastic fortissimo moments, of tutti, of fast contrasts, and of lack of elements that would make the piece be perceived as a whole. Of course, there are very good transitions too, like the one you do from movement 2 to movement 3, and a whole lot of enjoyable moments, but I don't really get the impression of listening to a cohesive multi-movemented work, but at well crafted environments or atmospheres, or even excerpts of music that do share instrumentation in common and that would, as you suggest, work as part of some cinematic product. There is, in my opinion again, A LOT of material here that could be further developed to make a whole suite of itself. Finally, I hope the translator doesn't fail. My favourite part of this work is undoubtedly the clarinet solo part on movement 7. It reminded me a lot of "E lucevan le stelle" from Puccini https://www.youtube.com/watch?v=YAXE-lczgu4 Many thanks for submitting your work here. Best regards, Daniel–Ø.

Is this a live recording? I ask so because I hear the pressing sound of pedal, and if it's so it's a really good playing. On the piece itself it has sentimentality and melodic fluency, and it reminds me of piano music from @UncleRed99 and @MK_Piano . Thx for sharing! P.S. Thank you! Henry

"I listened to your sextet and also left a comment on YouTube, but in Georgian :) I liked it very much"

Dear Lithl, Thank you so much for your kind words and for listening to my sonata! I’m really happy that you recognized the main motif and enjoyed the contrasts and dynamics. And hahaha! 😂😂 I can’t believe I made such a terrible mistake with the spaces around “Binary”! I’ll have to be much more careful next time. Perhaps I should revise the whole sonata because of this serious problem! 😂😂😂😂😂 As for recording myself playing, I would really love to do that one day. Unfortunately, my Clavinova is not exactly the ideal instrument for presenting my music, but hopefully I’ll have a better piano in the future. Thank you again, my friend, for your kindness and support. It means a lot to me! 😊 Warmest wishes, Vasilis

Hi Vasilis, I'm glad to listen to your latest piece. This sonata has a particularly strong motif to me: I immediately recognized it and dived into the whole piece. The change of pace and dynamics is wonderful—there's great contrast that makes me excited for what comes next. But there is a big problem! That is, the topic title is "( Binary)" not "( Binary )"! No, it's not even a problem, haha. In any case, it's always so nice to listen to your piano pieces in this forum. If you have the opportunity, please record your own playing, like Rachmaninoff plays Rachmaninoff. Thank you for sharing, I like your pieces 😊 Best, Lithl.

<font dir="auto" style="vertical-align: inherit;"><font dir="auto" style="vertical-align: inherit;">B2 (Op.25 Etude 4 hand).mp3</font></font>

Hello. First of all, thank you very much for liking my piece. For any composer, the most important thing is that the energy and the part of the soul that the author wove into the work reach the listener. I’ll try to answer your questions. I don’t work in Sibelius. I work in Studio One with MIDI files (whether I build the music artificially or play it by hand on the keyboard makes no difference here, since the MIDI files are recorded on the screen). So when I was asked for the score, I had the program print out part of it. It is only a copy of the notes and contains no other musical markings. I haven’t needed to prepare this piece for a live orchestra yet, as it is a brand-new work. Of course this is not the final score. It will need a great deal of work when (if) it is prepared for an orchestra rehearsal. That’s why I don’t have the strings split out by individual instrument, and so on. So please don’t be too hard on me about it. Think of it as a rough draft of the score, with only the notes marked. Sponsors help me with vinyl pressing. It isn’t very expensive, but it depends on how many copies you press and how you design them. Pressing 300 copies with good packaging costs us about €3,000-3,500 on average. Prices differ from company to company, and where you press matters too, as do shipping costs and taxes. You are absolutely right that my music stands closest to film music. Yes, that’s so, and it’s a sharp observation. Excessive grandiosity? I would rather call it heightened pathos. I love pathos-filled works (and romantic ones too. I’ll soon upload my Adagio, which has not a trace of pathos and is entirely romantic and melancholic :) ). In general, I have works in many different genres, from rock and jazz rock to classical. I love working in different genres. Now, the main point about this piece. Yes, when writing it I chose, for example, the structure of Tchaikovsky’s ballets. I still tried to carry one common motif (sometimes played by a flute, sometimes by another instrument) through the different parts, so as to keep a sense of unity. The outline of the piece is written above. It consists of 7 parts, and each part is meant to express the specific content of that outline. Take Tchaikovsky’s The Nutcracker or Swan Lake, where every part is an independent piece. I approached it on the same principle. Whether I missed something or it didn’t work out is another matter, and only the listener can decide that. For example, the fifth part is solely the attack of the sharks, and there I deliberately gave up the principle of a single, clearly pronounced leitmotif. So yes, that is a structural choice in my piece. Your view is close to mine. I also planned to make an animated film based on this piece, but so far no sponsor has appeared. As you know, film requires a huge amount of money. We’ll see. It’s a new piece, and someone may turn up. And finally, thank you once again for the kind words. All the best. The translation was done with Google, and I hope it says what I meant to say :)

Hi @Mamuka Chkheidze ! Do you have the full audio of the piece? I don't have a spotify account and in this preview of your piece it just allows me to listen to some seconds of it. Thx! Henry

I originally wrote the first version of this piece for a Cello Quartet, during a very dark, and sadly extremely depressive time period of my life. I decided to rewrite it into a symphony-style work a few months ago, expanding its one minute original version into a fully developed piece that captured and added a new perspective it hadn't had before. Currently, this symphony version is 7 minutes long from start to finish. I am curious to hear the world's thoughts, especially in regards to transitions, structure, and the arc of the piece. For some very simple context for my goals with structure, it is meant to not be "easy" flowing and clear. It's interpretive and dynamic, each section usually adding a little bit more context to the last time that variation was played. It's meant to symbolize the return of event-specific previous positive and negative emotions, how they shift over time, and that usually no matter what, thoughts of a previous time inevitably come back to remind you of it. However I worry that I emphasize the dynamic type of relationship too much that it could be negative and have an unclear arc perhaps...? Note: I am submitting this to a composition contest in a few weeks, so my goal is to have it fully understandable and clear by then. Edit: The quote weirdly didn't come out on the PDF, but it says, "'So we beat on, boats against the current, borne back ceaselessly into the past.' — F. Scott Fitzgerald" Homage to a Longing Memory.mp3 Homage to a Longing Memory.pdf

Hi, I am interested in looking over this work in depth to give annotated feedback. On my first analysis of the score, there are numerous engraving errors like dynamic info on rests, crashing slurs over note runs, and the overall Harp playability. This said, I cannot get to a good review until Sunday. When is the deadline for this competition? I hope to give some before the deadline.

Here's what I can say about this: I love the haunting lyrics that match video. I am curious to know your process. What your set up is.