Brahms Scherzo may doesn't fully convince because it is part of a pastiche. or maybe his life was a Rondo
[H]
Nah, it's just badly written in a technical sense.
DG
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@JimineySnicket said:
Oh Dear! I seem to have started something here........ New Music, always a good topic for a heated conversation and to be honest that's what I wanted to bring it up.
I think the problem, if there is one, is not with the VSL. There is no doubt the VSL library is the best on the planet, the problem has more to do with the recreation of new music with any kind of sample library and the limitations this has.
Actually what I was more interested in when I began this thread is to find out of people were writing original music that perhaps reflected late 20th/early 21st Century compositional processes and orchestration styles. Thankfully a few have come forward with some great examples. Although I have to say it is only a few...... What I have heard is great and I would just like to hear people 'experimenting' with the samples rather then just replicating.
Why reproduce a Brahms violin sonata when you can walk into a shop and buy a million different recordings? Life is just too short....... [:)]
@William said:
And just think - we get ALL of James Horner's music. Every last note... [8o|]
@dpcon said:
Very enjoyable thread particularly Angelo and William's intelligent discussion with equally valid points. JWL summed things up perfectly in that VSL may indeed expand it's articulations in their great libraries.
It's fair to sy there isn't a lot of modern demos around here (in the scientific sense of the word) but that may be because a lot of people aren't doing that outside of academic circles or if they are they aren't using VSL or aren't posting or whatever. I am interested in hearing any work from any era with VSL or live or whatever as I am a musician and therefor curious.
Can't blame Angelo for saying he needs more techniques to realizie his vision or William for saying it's working just fine for him and even more. Diversity of needs for expression is age old. Mahler when informed that the acoustics were terrible at a certain hall insisted none of his music be peformed there. We all have our standards.
Here once more the list of string technique sample missing, techniques you find in every romantic symphony composed in the 19th century, as well in preceding classic:
collé, piqué, jeté, gettato, saltando, sul tasto, ponticello, col legno, sulla tastiere, spicatto, flying spicatto, sul ponticello tremolo, group spicatto, ricochet, battutta, martelé, detaché lancé, accented detaché, detaché porté, group staccato, stopbow, bindungen, sautillé, louré, off-string marcato, ponticello, pizzicato with the left hand.
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@hermitage59 said:
My examples of this 'differing' articulative assumption are two recordings i have of Beethoven's 5th, 3rd movement, starting bar 140...
… Yet the passage in question is marked with neither detache or staccato, merely forte. Even if the passage were marked accordingly, i'm sure there would still be a difference between the two. So what would i pick? Which is my preference?
I just had a good idea!
I could make a mp3 with all orchestra bowing technique patched in a row. This segments, and only as long as the particular technique lasts, I would cut out of different compact discs I have. I may leave a rest in between or ad a count in, the technique in use I write in a pdf, nicely numbered. How is that?
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And like Mathis, i am continually surprised and impressed by your literacy, and vast knowledge base.
Not really related to this but I've sometimes wondered who was the 1st important composer and important piece to make use of harmonics, natural or artificial.