Most parts included in the final mix come from moments that I happened to be recording while reaching a kind of meditative state of mind. It's how I manage to create the most authentic mindful musical expressions that I can. It's not always what is wanted, but most of the times when I'm "in the zone" I tend to play in a romantic style. I also think the more I manage to connect to the subconscious, the more the music produced can connect with people listening. I'm really glad when it does! I know that I'm far from Chopin and Liszt level, but they are composers that I really like and they sure have an influence on how I play. Romantic music influenced my style a lot. I'm quite flattered that this piece reminds you of them!

It was in my thoughts that 5 minutes of C# might be too much, but then also thought that the chromatic elements would compensate, creating a little disturbance in the perceived root, and alternating between C#min natural to harmonic, and quick pass through C#Maj. I recorded some variations with more than accidental key changes as well as higher register that I didn't keep in the final mix. I was feeling like I was losing consistency, the darker vibe, so I kept them out. Maybe in a future version, adding a "Takeoff" chapter so the wind is put to good use instead of just blowing out things, we could fly gracefully into it! Would also maybe make it sound more like an actual rhapsody. :)

I get what you say for the mix. I didn't update yet, but I've cut a bit in this range on the close mic, and added a bit of lower freq, making some tests. It was the first upload with this piano sound so I'm very glad you appreciate the mix quality! It was making me a tiny bit anxious haha!

Getting to the round of 4, and the appreciation of what I create, it's way beyond my expectations! I was getting into these contests pretty much to get feedbacks and improve where I can, not thinking about the podium at all. It was not in my thoughts all along, but now that we're there! I own nothing that is proposed in the prize pool, so I'm quite happy about that!! Added to all the positives that already came out of it. It's convincing my inner voice more and more, that distributing my music is worth it! This inner voice can be stubborn, perfectionist, doubtful. It feels good when it gets tamed a little bit.

It's been quite an adventure since the beginning! I'm very glad of the results so far! You also helped a lot with your tips to get back on the boat! Thank you again!! :D

Sorry for that! I'll try to do worst next time :D
I really like your humorous way of putting it hahaha!
It's obviously a little bit full of notes. There was in my mind, an extremely skilled composer in @LucidShadowDreamer I pushed my limits on some aspects, maybe it shows a little bit. I tried to compose something that could give a chance to get to the next round as piano solo against a wide range of either piano composition styles, orchestral music, or electronic. LSD is extremely good in all these categories so I had to level up my game a bit! :) I left a plateau recently in my learning journey so this contest it testing where I'll plateau next, and it makes it 10x more exciting to me!! I'm very glad you appreciated the composition like this! Among everything I ever composed, Windy is my favorite. I'm also extremely happy by the way you consider it, and how it's received!

The flawlessness that you perceive, is made of hundreds of littles flaws.
I would also not be able to compose this by placing notes!
It has to be felt phrases played on the keys.

Thanks for the constructive review! I already made a couple corrections on the mix and it sounds a bit better. I'll update it in the next days. The loudness I went with loudnesspenalty.com but you're right! I should consider NG average loudness instead. I'll take that into consideration, maybe crank up the maximizer or readjust the mics volumes.

I used a Steinway grand library on this one. Maybe the lack of bass gave this effect of electric piano. No library can be equal to real piano recording though, but I try to get it as close to the real thing as possible, the real acoustic piano is always better :) Maybe one day I'll have a Steinway! I'm a long way from there though, gonna have to keep on with libraries.

Thank you very much for the tips and the kind words!

You're very good at composition in a multitude of genres, it gives weight your point of view!
I love this composition, but I'm still always doubtful about people's reception. Less than in the beginning though! :) The way you describe it and how it's appreciated is heartwarming! If people can just feel a little bit of what I get when playing, it's like giving well being to people, gives a sense of purpose in sharing my music! I think it's therapeutic. At least for me it is!

I don't always proceed the same way, sometimes it's more program music like Wicked Circus, which doesn't "connect" the same way, or I go for raw improvisation, which gives more simple results. But for this style of composition, first I improvise in my comfort zone for a while, to get into a kind of meditative state of mind while playing, until an idea that I think is worth keeping comes. Then I record a rough idea of it.

3:20-3:40 is the original little theme on which the composition started.
Then I play it in a more focused way, consciously, expand on it, experiment, try many variations, tighten it as much as I can, complexify it, try to create more parts derived from the original theme. It takes a couple days usually, nothing better than sleeping on an idea.

Once I'm able to play it naturally in more complex ways, then I can hit record button, and start playing until connecting to the subconscious again. This is where most of the composition comes from. I've read somewhere "Composition is improvisation in slow motion" I thought it made a lot of sense! I can record 10-30 mins, stop when inspiration is not there anymore, or that I recorded good enough takes, or I'm not able to "connect" to the subconscious, repeat the process a couple times until I feel I have enough quality material recorded. This part can take a couple days too.

Then I structure the piece, cut the good parts of many recordings, put them together roughly.
I build a general idea of what I want as a final result, and work towards it. rerecord some parts, work transitions, polishing until it's good enough to me.

Sometimes I can put a couple hours working on a particular technique to include it. Double octaves in this one, from 2:33 is something I was practicing very focused for hours, which will be in future compositions too! It's something I've never used before, now it's a new tool that I really like! It derived into the variations right after the double octaves part, and the intro as well.

It's pretty much it. I hope I explained it well enough!
Thank you very much for the good words and encouragements!!