Jay, Bill,
excellent performances from both of you.
After what seems a relentless time of discussions about sampled strings and their use since at least the '80's, these demos show just how much progress has been made, not only from developers, but users, as they hone and refine their skills, learning to use these instruments. It would be fair to say from listening to these demos in particular, that you've both mastered these most challenging and oft difficult instruments in writing for these types of works. I was blown away by the meticulous attention to detail, and without losing the 'humanity' of performance, always a formidable task when performing with sampled instruments.
Jay,
The expression you've imparted in this reflects your maturity as a performer. I've listened to all your work here at VSL, and been in admiration of your growth as a performer, not only in handling samples, but performing with them. The variability in string section tone often apparent in performance is often ignored or neglected by users of sample instruments, but it's obvious you've worked at this performance to a much finer degree, and it 'shows' aurally. An excellent performance indeed.
My admiration and respects to you.
Bill,
As one fortunate enough to have heard all your public work, including outside of the demos here, i'm constantly amazed at your creative perception, and willingness to push the boundaries of what is currently accepted. The March has a fundamental instinct to it, that steps away from what seems a modern desire to slather everything in pads of sound. There's an elemental structure to the march that appeals to me, and stripped of the pad sound, shows not only the tonal excellence of the brass, but your own performance and musical craftsmanship. It's a bold move to include the organ, as, and of course you know this, the brass and organ don't always sit together easily as partners. I've often considered one asset of the concert organ as a 'turbocharger' within an orchestra, for those moments when you need to hit the 'Big Tonal' button, and like you, would use it without hesitation or uncertainty if the occasion called for it. You've demonstrated that here, with challenging and provocative 'statements' to give a profoundness to your work.
The reverie is simply delightful, and shows yet another aspect of your musical craftsmanship. From Mars to the March to this performance of Reverie, and the wonderful Elegie, among many others, i'm in admiration of your fearless breadth of determination to challenge yourself in many styles and genres (to use overworn descriptions) and your handling of the instruments that, although sampled, have no less significance as instruments to be learned and whose parameters are to be explored.
To both of you, and outside of the excellence of the VSL instruments (a given in my opinion) i continue to be amazed and delighted at your skills as performers, and with Guy, TJ, Alex Temple,Miklos, and many others, you are fast forming an elite that provides a worthy yardstick for those of us with more modest sample performance skills to chase, and if possible, exceed, not in unworthy envy, but with the aspiration and enjoyment of increased knowledge, and the pursuit of ever higher standards of excellence.
Hearty respects and regards to you both,
Alex.
