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  4. Mozart's Oboe Concerto in Mozart Saal

  • Mozart's Oboe Concerto in Mozart Saal

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    EDIT: The link posted below is obsolete - this version has been replaced with the final version. Please use the link in the second post.

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    Following the link below you can listen to the (almost finished) production of the 1st movement of Mozart's Oboe Concerto:

    http://www.digital-orchestra-production.com/en/demos/mozart-oboenkonzert/index.html

    The Concerto is scored for 2 oboes, 2 horns and strings. Oboes and horns are VSL, for strings I have used a combination of two libraries - this time a blend of NI Session Strings Pro and VSL Solo Strings - these two combined together make a chamber string orchestra sound very much to my taste.

    The soloist ist the VSL SE French Oboe, the MIR Pro venue is Mozart Saal.

    There are a few warts here and there (especially in the oboe part), but I am just too tired to get rid of these right now. Hope you'll nevertheless enjoy the overall performance and sound ;-)
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    The final version is done. No more changes. [B]

    You can listen to it here:

    http://www.digital-orchestra-production.com/en/demos/mozart-oboeconcerto/index.html
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    Musically this sounds fantastic!  Great interpretation of all.   I felt that the instrument group of the violins is too separate, as if inhabiting its own acoustic space, like old monophonic reverb on individual tracks (though I know it's not actually that, it is slightly similar).  Also, the oboe similarly sounds as if in its own recording booth.   But that is only very subtly noticeable. A few of the violin trills sounds muddy - was that global legato performance trill?  That's what it sounded like.  It should be monophonic and more clearly defined or actual sampled trill.   I also noticed that the release time of the oboe is too long.  The oboe naturally has an almost instant note cutoff, and does not have a sloping decay like other instruments. This seems to decay too slowly on many notes.  But those are very minor criticisms as this is great overall.
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      Hi Goran, 

       having VSLized the orchestral part of the flute version of this concerto for my wife, I know how much time and effort it takes to render this, and I congratulate you on the results. The solo part sounds sometimes a little synthy to my ears though, but unfortunately I can't offer any constructive feedback about this, as I've been so far completely unsucessful when trying to bring VSL oboes (both french and viennese) to the front in my performances. Oboes are kind of my "black beasts" among VSL instruments. It's for this reason that I doubly appreciate your efforts.

       Anyway, your tracks are always an invitation to learn about VSL. Thanks for sharing.
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    @William said:

    Musically this sounds fantastic!  Great interpretation of all.   I felt that the instrument group of the violins is too separate, as if inhabiting its own acoustic space, like old monophonic reverb on individual tracks (though I know it's not actually that, it is slightly similar).  Also, the oboe similarly sounds as if in its own recording booth.   But that is only very subtly noticeable. A few of the violin trills sounds muddy - was that global legato performance trill?  That's what it sounded like.  It should be monophonic and more clearly defined or actual sampled trill.   I also noticed that the release time of the oboe is too long.  The oboe naturally has an almost instant note cutoff, and does not have a sloping decay like other instruments. This seems to decay too slowly on many notes.  But those are very minor criticisms as this is great overall.


    Thanks William, I am happy to hear you enjoyed the performance. I don't really have the problem with the "booth isolation" on my monitors or hedaphones, but in this production I did strive to make a more "clear-cut" spatial separation of instruments then usual - some people like this in a recording, others not so much (many find this approach to sound somewhat "clinical").

    You would be surprised as far as the oboe is concerned - I have a relatively recent recording with Camerata Salzburg and Franocis Leleux in which the release time of the oboe is considerably longer then here (not to mention that there is a very distinctive (probably algorithmic) additional reverb component added to it). This point will always depend upon how one uses reverb on the oboe, and there are quite large differences to be heard in recordings - this version would be somewhere in the middle.

    Some trills could perhaps use a somwhat "cleaner" execution, that's true, but I have to get on with other things - so this time this will have to stay a final version 😉
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    @servandus said:

      Hi Goran,

       having VSLized the orchestral part of the flute version of this concerto for my wife, I know how much time and effort it takes to render this, and I congratulate you on the results. The solo part sounds sometimes a little synthy to my ears though, but unfortunately I can't offer any constructive feedback about this, as I've been so far completely unsucessful when trying to bring VSL oboes (both french and viennese) to the front in my performances. Oboes are kind of my "black beasts" among VSL instruments. It's for this reason that I doubly appreciate your efforts.

       Anyway, your tracks are always an invitation to learn about VSL. Thanks for sharing.


    Thank you, Servando. Would you care to post the accompaniment version you did for your wife? (I am curious as I didn't do the strings with VSL exclusively this time, as I suppose you did. Did you use chamber or full orchestra section?)

    To be honest, I can't really tell anymore if the oboe sounds a bit artificial at times - when I compare it with other recordings, it seems to fare very, very good, but the sound of the oboe in real recordings themselves is so extremely varied and they always come with very different small "hick-ups" and sometimes strangely sounding imperfections, that I find it difficult to ascribe such detail to artificial sound (at least when listening in direct comparisons). It could be the case, but I know from experience that at this level it could very easily be that I am simply imagining things - so I really can't tell.
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    Hi Goran,

    please excuse the delay to answer your post, but I've had (still have) a very busy september, and very little time to log in. Here you can find my version. It was my first orchestral production with VSL 😊, so I'm afraid it won't be of much value to you unfortunately. My wife was practicing the concerto, and it was a lot of fun to work with her, but as you can hear it was recorded very casually, and rather primitively, just for the pleasure of doing something together; you can hear a car, a barking dog... so, a really crappy recording, but definitely entertaining 😊 We'll surely do a new recording of the whole concerto this year, in better conditions, and with better equipment (and a little more experience with VSL for my part) I will let you know for sure. Btw, Phillipe also made a version of this concerto with VSL, including the solo flute.

    Anyway, please don't take what I said about your solo oboe sounding a little "synthy" very seriously, Goran. I definitely think I really have a problem with VSL oboes 😊 It'll take me a little more time to get used to them.

    Regards from Spain,

    Servando

    PS: I forgot: yes, I used chamber strings. Maybe the next version will include some dimension things 😊
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    @Another User said:

      Anyway, please don't take what I said about your solo oboe sounding a little "synthy" very seriously, Goran. I definitely think I really have a problem with VSL oboes 😊 It'll take me a little more time to get used to them.

     
      Regards from Spain,

    Servando

    No offence taken [8], as I've said, I myself am not always sure about this at some points, and reference recordings I have don't exactly make it much easier in this case - the range of oboe sound as well as playing style is very wide in these, ranging from very subdued, in higher registers almost "flute-like" sound to strongly nasal and sharp sound on the other end of the spectrum. The same goes f.e. for vibrato  - some use a lot, others practically none, not even on really long sustains...

    Best regards from Berlin,

    Goran
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    Hello, I am very new to the Music world. I am a student in a Music Appreciation course, and I am beginning to explore. I have heard your piece and though I am generally a r&b type of person, I found your piece interesting. I like the piano and strings together. I look forward to exploring.
  • PaulP Paul moved this topic from Orchestration & Composition on