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Special thanks to Jamy Matar Deryene, my sister, for readily taking care of the video editing.
This piece was composed for a 110-piece ensemble. I had the chance to conduct it in Bulgaria.

The theme of the cue is a story from the Tolkien legendarium: Beren and Lúthien. “Tinúviel” is a name given by Beren to Lúthien meaning “Daughter of the starry night”. It evokes the evolution of the character of Lúthien in the eyes of Beren.

Bars 1-20 state the first time he sees her dancing in the forests of her father’s domain. More instruments come in to describe the enchanting nature of their first encounter at bars 21 to 36. In the story, she brings him to her father, and he discovers that she is the daughter of the king of Doriath, hence why the theme at bars 37 to 52 goes to the cellos and the horns come in, evoking royalty. The next section spans from bar 53 to bar 84. Beren would not be accepted by the king if he does not complete a quest, and Lúthien goes after him to aid him. The inclusion of the triplet movement indicates an adventure phase and showcases the heroism Lúthien shows. This part ends abruptly to highlight Beren’s death at the end of the quest. Lúthien pleads with Erú Ilúvatar (the equivalent of God) to bring him back to life. The last part (bars 85 to 103) tells of the love the two of them share.

The piece is in 6/8 and has no metric changes as simplicity and purity in the relationship portrayed are considered paramount in the piece.