Titanic Rescue, for two violins and piano

At this forum the stealing and plagiarism are being encouraged.

I know you said that this was written for 2 [individual] Violins and Piano but the midi patches you're using are Rhodes Piano and what sounds like a String Ensemble patch - I think it would have been nice to hear a Grand Piano with individual Violins.  As it stands it sounds very midi-ish and unrealistic like it was played on a synthesizer.  I don't know if that was maybe your intention but from your description and since you placed this in the "Chamber Music" forum I expected a piece for a chamber ensemble.

As for the music it seems like you wrote what you felt inspired to write in the mood and style of the original Titanic melodies.  I guess you can call this a sort of natural variations piece in that you probably didn't intentionally use variation techniques to transform the original melodies but were just inspired to elaborate on the given material.  I think it's a great idea to write something like this and your execution is quite decent!  Thanks for sharing!

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.

4 hours ago, Valentina Chernova said:

I wrote "Titanic Rescue" not being inspired by the music of the film.

I am confused.  When I hit 'play' on your piece the first thing I hear is a bunch of musical themes quoted from the movie.

4 hours ago, Valentina Chernova said:

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.

If you didn't like the music of the movie then why did you include it at the beginning of your piece?  It seems like you could have written your scenario with only your original themes in mind and you would have saved yourself the trouble of working with primitive and boring material.

4 hours ago, Valentina Chernova said:

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.

I understand why you wrote this for two violins rather than just one.  I was just asking why you used the sounds you did in this rendition/simulated performance.  To me it seemed like a Grand Piano and solo Violin sounds would have been preferable to the Rhodes Piano and String Ensemble sounds you have here.