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Thank you, I'll give that a go.

I can just save as an scw file, or export as a MIDI.

Can I write it all out on Musescore and proceed from there? I have looked at Musescore and I'm not sure what it does?

Thank you for your offer. Much appreciated. However, I don't think Genie Soft 4.1 Score Writer can produce MusicXML files. I think I am rather stuck with outdated software, and a limited understanding of how to progress.

I've just written an Adagio for Oboe and Strings, and the MP3 rendition is so bad I can't post it on Youtube. It would be really good if someone could advise or help!

I'm an Unsung Composer, possibly justly so, but I do think my music would stand a better chance if the electronic performances were better. My problem is I don't really understand the process to get to the best electronic orchestral renditions. At present I use Genie Soft Score Writer 4.1, a program I have been using for well over a decade. I write the music, then export a Midi file, then convert it to an MP3 file online. These sound marginally better then the Midi, and allow me to put my music on Youtube. I've noticed that there are some very effective electronic renditions of orchestral scores done by people on this Forum - how do you do that?!I have read about the process online, but I am failing to understand. Could someone explain in really simple terms what to do? Or alternatively, is there someone who would like to work with me if I provide the notes?

My music is tonal and melodic, and influenced by folk music. I manly write for strings as I am a violinist, and the electronic renditions of my orchestral music are better if there are no wind or brass instruments. If I include wind and brass the end result sounds like a decrepit harmonium.   

I have had my music for solo violin performed by a professional violinist in a concert, and have heard an ametuer group play my chamber music, but I would really like to give my orchestral music the best chance of being appreciated by it being heard in the best possible electronic form.

Here is my latest work, https://youtu.be/SO5EqUwp5O4?si=tQK_RVK_2N6EgIo1

Thank you, Stephen ( my Forum name is Hector after Berlioz) 

Emilie Mayer, Symphonie No.1 / Laurence Equilbey & Insula Orchestra:

https://youtu.be/vo6d28bpDB8?si=_3OIXV7SFlWuW2l5

Glad others are finding a greater appreciation of Ries' Symphonies, I was always impressed by Griffiths' performances. However, I am not so interested in the Tapiola perfomances that I have heard on Youtube. I would have preferred experimentation to be with more flexible tempos, greater use of vibrato, and slower Andantes and Larghettos.

I once had an interesting conversation with  David Lloyd-Jones by Email. Otherwise I wouldn't really know how conductors would respond to such an approach. I was certainly pleased with Howard Griffiths' response (we may be wandering off topic)

I recently had a brief conversation with Howard Griffiths on Facebook -

I said - I've just been listening to Cipriani Potter's C minor symphony & it reminds me of Ries' C minor symphony. They were both premiering in London at about the same time, is there possibly some influence passing between the two composers? Or is it just the lingua franca?

He said - That's a very interesting question. They certainly both lived in London at the same time for several years. As far as I can find out there does not seem to have been any great friendship between them. They were almost rivals in the London scene. Particularly as both were involved in the Royal Philharmonic Society. I think both were under the influence of Beethoven as many other composers of that time.

I replied - I'll have another listen and see if I can identify the passage that set me thinking.

& me again - The finales. Both have a lyric theme with prominent winds, and then a dramatic march like second theme. Potter prefaces his with fanfares. That's the similarity I noticed.

(PS I think the La Folia concertante is great fun)

Viotti Violin Concerto No 22 springs to mind. This was the first 'unsung' piece that alerted me to the fact that many of the best compositions by less well known composers are better than some of the compositions of the famous ones. Is it my favourite? That's impossible to answer, but for the purposes of this thread it will do well.

The pathos and drama of Viotti 22 are marvellous, way more interesting in my estimation than Mozart's oft played violin concertos. The Lola Bobesco recording is my favourite.

https://youtu.be/e9IZSTn2N3U?si=lpFrFEIseJsbOPb3

Unsung String Octets

I haven't heard the Gliere, but here's what I have heard. I am reluctant to include Spohr's Double Quartets on the list, but have I missed any others from the Romantic era?

Raff in C
Bruch in B flat
Bargiel in C minor
Gade in F
Svendsen in A
Enescu in C
Schuberth in E

I think the quite the opposite, that Ries' symphonies are more engaging than Krommer's, but then I never seem to agree with the consensus on this forum ( & this may be developing into a different thread than Ries' Violin Concerto)

Oh yes he hits the heights, especially in motivic and harmonic development. The A minor symphony, the C sharp minor Concerto, the C major String Quintet, and the F minor Quartet are good examples of his 'heights.' I suspect his virtues are more Classical than Romantic.

I am a Ries fan, but even I would rate the violin concerto 'engaging' rather than 'great.' The drama is of a domestic, Biedermeier, scale. But then, I don't always want to be moved to the core by great beauty or tragedy, sometimes I just want 'engaging.'  The opening theme of the finale may perhaps be too good, as it obliterates in my recollection of the piece all the other themes. It sounds like many of the other folk influenced themes Ries later used for finales.   

I think so, but I can't put my finger on why, better phrasing?