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  4. E.v.Reznicek Donna-Diana-Ouverture - with Syn-Str +Perc (+VSL-Wood and Brass)

  • E.v.Reznicek Donna-Diana-Ouverture - with Syn-Str +Perc (+VSL-Wood and Brass)

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    My next project is another attempt to realise one of the most brilliant romantic Orchestral Ouvertures.

    As a Conductor Richard Strauss already has had some fun to conduct several times Works of his 7 Years older collegue Reznicek.

    Yes this very powerful music does need not only many kind as "crisp" as agile shortnortes but also some broad soaring cantilenas and a wide range of dynamic colors.

    It would be a great fun to see if anyone would ever be able to cope with such demanding score with any other available Library. (I seriously just could not imagine any at all) As you can see from the interval to my last post (two days before) what you can hear doesn't afford any disproportional amount of Work. Presumably many orchestras would need 'a bit' more to just rehearse it.

    (I know there are some people here who can't just allow themself to have fun with good music as soon they read the word "Synchron". Brothers I already know your complains by heart, do me a favour and do not bore me any further with constantly repeating them again and again.)

    However since this is a public forum I hope that perhaps those who are still more open minded, might have some fun with this little experiment to realise one of the most brilliant romantic ouverture of this today still seldom played great austrian late romantic composer.

    Emil von Reznicek (1857-1945) Donna-Diana-Ouverture
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    @fahl5 said:

    My next project is another attempt to realise one of the most brilliant romantic Orchestral Ouvertures.

    As a Conductor Richard Strauss already has had some fun to conduct several times Works of his  7 Years older collegue Reznicek.

    Yes this very powerful music does need not only many kind as "crisp" as agile shortnortes but also some broad soaring cantilenas and a wide range of dynamic colors.

    It would be a great fun to see if anyone would ever be able to cope with such demanding score with any other available Library. (I seriously just could not imagine any at all) As you can see from the interval to my last post (two days before) what you can hear doesn't afford any disproportional amount of Work.  Presumably many orchestras would need 'a bit' more to just rehearse it. 

    (I know there are some people here who can't just allow themself to have fun with good music as soon they read the word "Synchron". Brothers I already know your complains by heart, do me a favour and do not bore me any further with constantly repeating them again and again.)

    However since this is a public forum I hope that perhaps those who are still more open minded, might have some fun with this little experiment to realise one of the most brilliant romantic ouverture of this today still seldom played great austrian late romantic composer.

    Emil von Reznicek (1857-1945) Donna-Diana-Ouverture

    Qutie a complex compostition !  

    Not the type of music I listen to, but an interesting listen.  Oh.. I don't like the way the Synch-Strings sound here. They sound very fake, and synth like. The other sections sound good. 
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    Oh just a "Trivai" cited from Wikipedia. Excactrly this Overture was chosen several times as themes for american, british and german TV-Series, and Shows. And Claudio Abbado did that in one of the very popular Vienna New Year-Concerts. Funny how many have been able "to be sold on" somthing such "complex"😉.
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    I listened this first on my mobile phone (I was not at home). And I know: when I do this, I don't get a good sound, and the fact that it is sampled music, looks like to be enforced by hearing it through such a little speaker. At home I listened again, and now with a decent audio set. That was obvious another sound, much better of course.
    Moments of "live-sound" and "sampled sound" succeeded each other in a quick tempo, but I heard the nice piece of music and I enjoyed it, so thank you Steffen, for your efforts!
    And I really have to say: two of the best moments in my ears were the cantilena melody, that was played by the Synchron violins. Beautiful dynamics, legato beautiful, very well done! I really think, nothing wrong with that!
    Writing this I wonder if the moments of "sampled" sound have to do something with the reverb, I'm not sure, it is not only with the strings but also with the wood, especially with staccato notes.
    But it is very good possible that on your set it sounds different, better.  
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    Thank you MMK for your friendly response,

    I think you are absolutly right that I should care more for the most appropriate handling of the acoustic options this new Library provides. Currently I honestly have chosen the MIR-Synchron Venue for the Winds and for the Synchron-Strings just the Preset "classic sur to stereo" which I tried to imitate with the Settings for each Microphoneposition of the Synchron Percussion (Hope we can have a Synchron-Player Synchron-Percussion soon). I am for myself not yet ready with the most appropriate Acoustic. I will take more care of it in the nexrt experiments. Thank you for the hint.