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Hello, I really liked it. I don't find it “difficult” to listen to at all. You just have to open your ears and let yourself be carried away. I'm not usually very fond of such high-pitched instruments as soloists, but here I think everything sounds fantastic. Movement III is very lyrical. So is V. That gives a lot of balance to the more frenetic rhythm of other parts.

Apologies, it's just that I'm very “meticulous” and I like to leave the scores as “clean” as I can. One thing I learned about orchestration is that the bass, apart from being essential for setting the harmony and rhythm at times, is what the human ear perceives the least, since our ears are tuned to mid-range frequencies and also reacts immediately to high frequencies. Therefore, especially when the orchestra becomes denser, it is advisable to reinforce the bass. The usual practice is to double the double basses with cellos, in unison or an octave. The double bass can play only the strong notes in pizzicato and the cellos can play sustained notes. You can also add the bassoon to your ensemble, whose low range is more comfortable. The timpani can also reinforce the bass at times. And then there are other instruments that are not in this style: the tuba, par excellence. And others such as the contrabassoon, bass trombone, etc.

Enjoyed this charming piano work, which is bright and lively. I like the sudden changes like borrowed chords and a quick major to minor, then back. Has a touch of humor, as scherzo's can often have.

I enjoyed it and just listened and followed the score. I also wrote a stream impression piece called The Brook. It uses arpeggios which I think works nice for something like flowing water.

Thank you for your review and valuable feedback. It is great to receive feedback from a performer's perspective. Regarding the metronome marking, I have had that criticism by another pianist concerning another piano piece. I will make sure to be more careful in the future. I will also keep all your other feedback in mind in future pieces.

Quite a charming work ... echo's of "Schumann's Scenes from Childhood". Mark

How did this go unnoticed? It's a really good piece, in a style that, to my mind, is like neoclassical. The writing is very refined. The recurring motifs give it a lot of coherence.

Hello Luis Very Impressed by your Presentation, i presume this is a "Cover" of Mendelssohn. Which means if you can re-create such a Complex piece, then creating your own "Original Composition" will be No Problem at all. Regarding the Production quality, im amazed how Crystal-Clear the treble Range is, i hope to match that pristine sound hopefully one day. In the Meantime i shall be looking out for an Original-Composition from you soon, as i know you can do it, and do it really well.

Hello @Luis Hernández! Having just listened to your orchestration in comparison to the original piano work, I must say that the brass orchestration perfectly matches the character of the “Hunting Song.” The piano version is also beautiful, but it doesn't convey the image of a forest where hunters play before or after the hunt as strongly—perhaps this was also because the recording I heard was at a much faster tempo, which would have been uncomfortable for horns, trumpets, and trombones. In the semiquaver runs, the french horns sound somewhat to „soft“ what might not be the case in a live recording (while the trumpets retain their typical brass timbre), but despite such nitpicks concerning the realism of the software reproduction, the entire piece sounds well balanced and there is nothing „rattling“ (that’s what I call it whenever there is something that had to be improved according to the listening impression). A beautiful, authentic orchestration of a classical piece that captivates with its very own character!