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  • Ténèbres

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    Something a bit more extreme, hope you enjoy it.

    Caution: Remove any delicate object on top of your speakers. 😊

    Ténèbres


  • This is making me nervous Guy.  I am going to check outside right now - there were some flashes of light out there. 


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    Freakin' awesome!!!! 🌩️


    /Dietz - Vienna Symphonic Library
  • What I think is interesting is it is sound design with the orchestra - which is still the ultimate sound designer yet invented.  


  • Thanks William and Dietz!

    I've updated the link. I added a spoken section during the choir section at the end. Let me know what you think?


  • Hi Guy,

    A most impressive soundscape and a poem of absolute beauty. What a contrast with the opening and threatening percussion. The sound is so realistic and almost tangible, going so well together with the picture.

    Fantastic!

    Max


  • Thanks Max, that's very kind!


  • Guy, the poem fits very well in the context of the music.    I have been thinking of doing some spoken word with orchestral music, and the concern is not to have the words conflict with the music or vice versa.  Your use of the simple repeated choral chords allows the music to sit back in the mix but still be there effectively. 


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    @William said:

    Guy, the poem fits very well in the context of the music.    I have been thinking of doing some spoken word with orchestral music, and the concern is not to have the words conflict with the music or vice versa.  Your use of the simple repeated choral chords allows the music to sit back in the mix but still be there effectively. 

     

    Glad you appreciated the spoken section William, thanks! 

    Originally, it was read with normal pauses, so a normal reading for a poem. Although it worked,  I thought there was some conflict, so I asked the reader to make longer pauses in between the lines, the result was it matched more the music pace. Because the passage wasn't long, I guess it worked out well.


  • Very interesting to hear the process, Guy, thanks for the info.  I really like this more "extreme"  work as well as your more "normal" ones.  

    Interesting how composers today are in a wonderful position to try radically different approaches to composition - never possible in the past unless one wanted to be institutionalized !  What does that mean about music right now? There doesn't seem to be a "normal" anymore.  Probably a good thing...  


  • A very beautiful, evocative piece, Guy.

    The spoken part is sort of a way to return in the human dimension, after having reached the climax in/inside/across the powerful beauty of the nature.

    I'm not totally convinced by the poem itself, but the reading voice is very beautiful. It really "works".

    Paolo


  • PaulP Paul moved this topic from Orchestration & Composition on