Ok I confess I hesitated to share here once again my attempts to explore the new Synchron-Strings, since I realy do not like the often personal, scarcly subject based, polemic and disrespectful way some of the Members here prefer to comunicate. That said I know they will again presumably continue to complain, the Work the VSL has invested in this as innovative as ambitious Sample-library-Series which is still in its very beginning as they will do with my efforts to use is musical reasonably.
However, I still do like the Library, there imho many aspects which allows very much more realism than previous libraries, but the great and manifold options to controle and select Patches does make it a challenge for the user, to do his best to make use of it. Imho some of the examples discussed here seem to me not that suitable to discuss the library and its strength as far I personally fear the user has not even attemted seriously enough to achieve the most reasonable results the library is able to.
As I already said before I believe as every good instrument, one should take its time to come familiar with it. Thats all I am trying to do. Here is my next result.
Robert Fuchs (1847-1927) is nowaday no longer a composer that one would call an "unsung" composer. You can find in Youtube for nearly all his composition played by several good ensembles and interprets. Nevertheless he belong perhaps not to those composers really everybody knows by heart. Most who have heard something about him know that he was the teacher of (among others) many of the most important early 20th century music composers like Erich Wolfgang Korngold, Gustav Mahler, Erkki Melartin, Franz Schmidt, Franz Schreker, Jean Sibelius, Robert Stolz, Richard Strauss, Hugo Wolf, Alexander von Zemlinsky. While he himself was know for his pretty unobtrusive but always very inspired music, what might be somehow hard to combine with the overwhelming powerfull music of most of his wellknown pupils. But that might also be a matter of personal character. As far as I have had the chance during my own musical studies to made the acquaintance of some of his (familiar) descendants - which are still as unobtrusive as wonderful musicians - this seem for me art least very probable to be the case.
His first Serenade op.9 written in the age of 27 years was received by the contemporary press nearlky enthousiastic giving nearly the very charming complete opposite of what for instance Wagner at the same time presents most overwhelming in the Bayreuth Festspielhaus. The music is not only obviously deeply routed in the Folkmusic-traditions of his styrian homeland, but in the same time so full of well formed details and deep sentiment, that I personally can imagine that not only regarding the wonderful deeply breathing IV.Movement (Adagio) G.Mahler could have been directly very inspired by this teacher and his music.
The recording is made primarily with Synchronstrings, only in divisi-Passages supported by the new and wellcome Synchronized Chamberstrings. If you read many other threads here one might think I must be completly deaf or whatever, but I still do like Synchronstrings to be in many aspects a great improvement over what we already have had of good orchestral strings (not only from VSL) and I think that they (VSL) do with this Library and Serie the right step in the right direction and a pretty good step ahaed. And I personally feel and hope that I am getting more and more familiar with this complex library and his use, which imho really deservers it to spent the time to unlopck its potential.
I hope that at least those who still are open minded enough would find something they are able to enjoy to listen. And yes I am ready for the fact, that there are presumably currently some here who will not.
So perhaps give this music a try:
Robert Fuchs Serenade D-Major op.9 (Synchron Strings + synchronized Chamberstrings)
