In Time There Will Be No Time

This is my last composition/recording for 2016, finished last night.
The piece (6:30) consists of two string choirs, VSL orchestral strings, appassionata strings and a string quartet.  It is a slow piece
Produced in Sonar using Vienna Symphonic Strings.  I've included the score.
 
Jerry
www.jerrygerber.com/intimetherewillbenotime.htm
 
 

stevec
Very nice, Jerry.   The dynamics are really good throughout, and I like those occasional string glisses...  they add emotion.  
 

Thanks Steve!  I just posted version 2, this time using MIR, VSL's incredible convolution reverb and spatial software, which I just got.  It's as though my VSL library as been upgraded many times, I can't believe how much progress has been made with this software, it makes the samples sound far more realistic because you can actually place the sample anywhere in the 3D field.  If you move the sample to the "back of the orchestra" (there's a graphic display with icons for each instrument which allows you to do this) not only does the reverb sound different, but so does the dry signal.  So you're not just adding reverb, your shaping the actual location of the dry signal in space.  I was blown away when I heard how it created a spatial realism that even the very best conventional digital reverbs cannot match.
 
Here's the 2nd version if you have time to listen:
www.jerrygerber.com/intimetherewillbenotime.htm
 
Jerry

Quite an enjoyable piece that conveys the emotion of the concept, nicely done sir.

jsg
Thanks Steve!  I just posted version 2, this time using MIR, VSL's incredible convolution reverb and spatial software, which I just got.  It's as though my VSL library as been upgraded many times, I can't believe how much progress has been made with this software, it makes the samples sound far more realistic because you can actually place the sample anywhere in the 3D field.  If you move the sample to the "back of the orchestra" (there's a graphic display with icons for each instrument which allows you to do this) not only does the reverb sound different, but so does the dry signal.  So you're not just adding reverb, your shaping the actual location of the dry signal in space.  I was blown away when I heard how it created a spatial realism that even the very best conventional digital reverbs cannot match.
 
Here's the 2nd version if you have time to listen:
www.jerrygerber.com/intimetherewillbenotime.htm
 

 
I don't recall exactly what the first mix "sounded" like, but having listened to this new version I do get a very defined sense of 3D space around the instruments.   With good programming (as in this case) the orchestra just seems to come alive...