Mr.William:never heard of you.But you are correct,my "interpretation of Le Sacre" was,in hindsight,less than satisfactory.Downright pedestrian;sluggish even.Nothing makes my hair stand on end more than Boulez' or Berntstein's rampant visions. Well put,Sir.

JBM:I disagree that Jupiter would be more of a challenge than Jeux.I maintain it's all about getting the strings right and, from what I understand,Andy's string articulations were not all VSL derived.It's relatively easy to achieve realism with brass and woodwind:the attack transients of these instruments (even in ensembles) are less complex than the strings.There were many more articulation problems in the Debussy:the Holst string parts weren't that crazy.There's a brief section in Jeux where the violins are playing extremely rapid scalic figures,almost sounding like seagulls.I eagerly anticipated that passage on Andy's version,thinking "He'll never do it,he'll never do it." But he DID!Amazing


Anyway,that's my take on it.Nevertheless ,the Holst is still very accomplished.I'm still not achieving the realism I expected with the repetition tool.The Legato is very successful,however.

PS:I wish you Westerners would spell my name correctly. [6]

@strawinsky said:

I disagree that Jupiter would be more of a challenge than Jeux.

There's a brief section in Jeux where the violins are playing extremely rapid scalic figures,almost sounding like seagulls.I eagerly anticipated that passage on Andy's version,thinking "He'll never do it,he'll never do it." But he DID!Amazing

Hi Strawinsky,

When Herb asked me to do the Holst, I thought it would be a breeze compared with the Debussy. It wasn't [*-)] . It took me nearly twice as long. The Debussy was easier because of the Legato Tool - it's as simple as that. The seagulls you spoke about worked exclusively because of the solo violin and vln ens Perf-leg samples. I used nothing else for those and it was a very pleasant surprise that they worked so well. [:D]

As I mentioned before, the Holst is marked Non-Legato throughout the piece - when I first saw this I realised that it wouldn't be able to rely on the exclusive tools of VSL. In some repects a lot of it could be achieved to a lesser degree with one of the Old School libraries such as Miroslav, but here's the difference between the Cube and Miroslav, or even any other traditionally sampled library around today - CHOICE OF ARTICULATIONS. This has been a big revelation for me doing this mockup. I set up each Cube instrument so that I had a large number of articulations mapped to key switch groups. So during a performance I was able to try out different combinations with different notes within a phrase. It was the sheer number of options available that made a lot of the mockup possible. As the work progressed I began to gain confindence that no matter what was thrown at VSL, it would give me the correct articulation or combination of articulations to realise the phrase.

Andy.

Gosh Mr. Stravinski I'm awful sorry.

Hey wait a minue! Aren't you dead?

William,

If you look again, you'll see that I never said the Stravinsky Rite was "good", I said that it gave a completely different take on the piece, particularly in relation to his other works. This is actually the big issue, isn't it...? You're talking about a good or bad performance in a very general way, in my opinion. For me, a good performance is not necessarily one which makes everyone sound lovely, it's one that captures the essense of the composition. In this sense the Strawinsky(!)/Craft recordings are invaluable -- yes, there are many more "beautiful" recordings, or more "powerful" recordings, but none of them capture that strangely brittle, percussive aspect of his works. It's almost as though he imagined *every* section of instruments as some unusual sort of percussion -- at least in the big tuttis... And it changes the sound of the orchestration quite dramatically. Nowhere is this more obvious than in the ending of his Firebird recording, where we *finally* hear all those big chords heavily accented, as their intended! The result is a completely different colour, with a curiously different blending of instuments. Whether "good" or "bad" is beside the point -- this was the way it was intended to sound, and I wish some more competent conductors would play it as it's written. Of course, the orchestra is falling apart all over the place... But Strawinsky wasn't a conductor. No argument there.

As far as the use of the word "romantic" goes, with reference to performances of StravavaWinsky, that is not my word. It was Stravinsky who generally made use of this term, so I should probably have used quotes. Basically, it's referring to a whole generation of conductors who became famous conducting Romantic works, and often failed to see the need for a different approach to any other type of music. These same conductors were also sharply criticized in the 80s and 90s, when "period instruments" became the big craze, for conducting Bach in the style of Mahler. That's all I'm talking about. Think of the difference between a "Karajan Mozart" and a "Harnoncourt Mozart"... Obviously, there's no "better" or "worse" reading, they're just different, and quite dramatically so. And you should know by now that I don't give a shit about "modern" or "romantic", so please let it rest. Particularly when it comes to equating "modern" with some perceived personality defect... Actually, I've generally suffered at the hands of performers who failed to see that my rhythmic writing is not, in fact, "modern", but rather (if I must use a period) more impressionistic. New music players tend to strive for an absolute rhythmic precision, which generally causes my music to sound much more angular and chaotic than it actually is... If you've ever sat in the audience and heard your music innocently slaughtered, by perfectly capable musicians who simply didn't know how it should sound (and how could they?), then you understand why I find the Stravinsky/Craft recordings invaluable. This actually relates to another thread (the one about "doing mock-ups at all" where I mention performance tradition), and the understanding of a composer's language... But that's another discussion.

Since we're talking about you, Mr. Strawinsky, I think Andy himself highlights the difference, in a very practical way, by mentioning the limited use of the performance tool in the Holst. I wouldn't necessarily say it's only that, but that certainly makes the difference clear. My experience has been that rhythmic complexity, speed, and a more off-the-beat style make midi breathe (while often making live performance, by all but the greatest musicians, 'congested'), and that rhythmic unison, non-legato writing, and slower passages are comparatively more difficult to realize with midi.

J.

Thanks,Andy for your enlightening response to my post.I bet you jumped up and down for joy when the seagulls section came out the way it did.Marvellous!I think the key to what you described is the non-legato(detache) nature of the Holst vs. the liquid strings of Jeux.So far ,at least to my ears,the legato articulations are more successful than the repetition tool at getting a natural attack.I've not been satisfied with my efforts,at any rate,and I'm not sure that I'm doing anything particularly wrong.The legati phrases,on the other hand,seem to flow along very convincingly.

Thanks for sharing some of your work methods.

Hi,JBM.See,I think good or bad is the whole point:from a completely objective point of view,that's how I would define whether I liked a piece (or version) or loathed it.One can dryly dissect a work,and historicize in a clinical and academic way,but if it don't rock ma world it's baaad.And I think Igor's version of his own piece was just that.Sure it was interesting to hear,and I've heard him conduct other pieces which I did favour.But the brutal nature of the Rite didn't come over to me.It was too considered,which came as a great surprise,consider that the man was known for his outburts,as well as his surgically dispassion.Therien lies the answer,I guess.

I definitely agree with your parting appraisal,though,as a general.

William:I'm not really him,y'know...

JBM

I'm certainly not going to argue since it's a matter of personal likes and dislikes but my point is that this so-called "brittle" approach is not quintessential to this music. The percussive, rhythmic aspect demands a conductor like Mehta, Bernstein, Solti, etc. - who bring out the "power" which is essentially just the rhythm but played very, very well and forcefully. This piece is an attempt at capturing the mind and universe of a very Romantic conception of the "Primitive Savage." To do that the music must be performed and conducted at the highest level of skill and inspiration, with full communication between conductor and orchestra, not dryly and mechanically and rather lifelessly as Stravinksy conducted. Ironically, the music is in glaring opposition to his conducting - he wanted a picture of life at its most primal and free, not at its most strangled and intellectualized - which is how he conducted.

Igor, [;)]

I agree. I was merely pointing out the fact that *my original comment* had nothing to do with good or bad. From a subjective point of view, all that really matters is whether you like it or not. That's a given. But as composers we are constantly faced with the issue of whether our work is being performed in a way that does the score, and the musical idea in general, justice. If it's NOT, then our audience might walk away saying "bad", when they could well be saying "good", had the performance hit the mark.

Now, it's very likely that Stravisnky didn't do his work justice when he recorded it, but there are certain aspects of *interpretation* that are undeniable. It is not a question of his musicianship as a conductor, but rather of his interpretive authority as the composer to do things in quite a different way. He did that with most of his recordings, and that is what makes them valuable -- they aren't just "bad" performances, they are unique and very personal performances, which communicate very important aspects of how he heard the orchestra.

So I'm not talking about "dry" dissection. There's nothing "academic" about it. I'm a composer, and it matters to me that my music is played the way it is intended to be played -- and in this case I don't mean "well" or "poorly", but rather with the correct understanding of how the music works, how it functions. The musical score is generally not too good at communicating this -- indeed, a big part of the learning curve for a composer is learning how to manipulate the score into saying what the composer intends. The case of Stravinsky's own recordings of his works is important for these reasons, and for these reasons alone. Which is why I say it matters little whether the conducting is good or bad.

Anyway, I think we understand one another.

cheers,

J.

Talking about the "Rite" and Bernstein I just want to throw in how amazed I was hearing a recording of this combination. I don´t know which orchestra it was, but the rhythm was everything else than exact and brutal, it was a total mess and full of overbearing rubatos or tempo changes. I hated it.

A freind of mine once found a recording in the street by a completely unknown russian orchestra. It is AMAZING! I really love this. Totally sober in expression. Who wants a copy, just PM me.

Well put,Sir,and we might concur in a matter of some details,though I'm in agreement with William's closing paragraph of his,er,last post.There's a strange dichotomy in this wild,primitive music,and the detached,almost reluctant approach of its author.The Rite is a virtuoso score of the highest technical expression,demanding an extraordinary level of togetherness to convey the precise opposite.Namely,spontaneity and abandonment.I think all great music achieves this:the sense of it issueing from nothing in a kind of evolving creative process.But that requires great technical facility.Anyway,I digress.I just feel that IS's vision of his own piece was not,on this occasion, sympathethic to its spirit.However,his chamber and "atonal" works are ideally suited to this cool detachment.

I wasn't intending to aim the academic and dry at yourself:'twas merely a generalisation of a certain type of approach. [[;)]]

Main thing is,thank God for stimulating conversation and the VSL forum....

Actually you're right on that Mathis. I don't even remember Bernstein's. The one I remember most clearly was Mehta with the Los Angeles Philharmonic. A great performance iin which the rhythm and energy was almost maniacal. But I have also noticed a couple recordings Bernstein did that had unwarranted tempo changes that did not improve things at all.

Though a few things from Bernstein are the greatest ever recorded - like his Shostakovich 5th. It cannot be surpassed, maybe not even equalled.

Stravinsky being human was better at some things than others. The great conductor/teacher Fritz Zweig (a friend and neighbor of I.S. in West Hollywood) once told me not to listen to any of the great composers works conducted by him as he was not a great conductor. My feeling is that Stravinsky did succeed in some of his recordings. His Rakes Progress is wonderfully realized and not shown up at all by Ricardo Chailly's more recent recording. I just heard some of his chamber sized pieces conducted by him and they are terrific. At the same time I'm not surprised he has some disasters out there because Zweig would never make a useless statement about anyone, much less a friend and even less a giant musical personality.

I digressed and humbly apologize. Just too darn interesting to ignore.

Dave Connor

by the way,

is it possible to see the midifile of the jupiter vsl version?it would be very nice.

thanks

sebastian

YIKES! This is scary it's that good. I really like the strings. Very realistic and non of that funky faux vibrato that is an instant give-away for samples. Real nice arrangement. You nailed it!