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  4. Josef Suk Serenade op.6 (Synchron Strings I)

  • Josef Suk Serenade op.6 (Synchron Strings I)

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    The next step in my Synchron Strings Exploration is a little Interpretation experiment with the early Serenade of the scarcly 18 Year old (later son in Law of Antonin Dvorak) Josef Suk (1874-1935).

    Josef Suk: Serenade Eb-major op. 6,

    The Experiment is nothing else, that just to follow the Tempoadvices (including the concrete metronome-values) of J.Suk. After I have heard several conventional interpretations I realised, that, nearly all played the Andante notably faster making it from a slow movement with a gentle movement to something like a cheerful (superficial) Allegretto, while the two Allegros and the Adagio are in all Recordings I have jeard always played notably slower thah the livly tempo Suk has demanded for the Allegros and the not that extreme Slowlyness of Suk wants in the Adagio.

    In any way it is again a wonderful fresh and inspired music for Stringorchestra and the Synchron Strings I a tool which makes it a great pleasure to work on that music.

    Concerning the Synchron-Player Acoustic which is still part of my explorations, I still start with Classic Sur to stereo but add a higher Level of the Close Microphone and Lower the Level of the Synchron Reverb for each player. n all EQ' I shut of the raising of higher Frequencies in the default settings while I raised the middle and lower frequencies.
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    Hi Steffen,

    I 'm a little confused. I heard this piece when you just put it on the forum. And then I didn't like the sound, to sharp. Now after a few days I listen to it on a different computer with just a Sennheiser step-in headphone, and now the string sound seems so much better. Did you change the sound after you placed it on the site?
    Anyhow, there are so many, many beautiful moments in this piece. In the violins. in the celli. In the second and the last part, so lively. Congratulations! I think you had a lot of work to do on it!
    Indeed, there is a learning curve with this library definitly. And ok, this library cann't do all things perhaps, but many things for sure!

    (While I'm wrinting this, I'm listening to the piece and every time again I hear something and react: "Really beautiful, oh, hear." And be sure, when this was not true, I should not writen.)
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    Thank you MMKA for your friendly reaction.

    Yes the Music of the young Josf Suk has many beatiful moments and it was meanwhile a lot of work but still a tremendous pleasure to realise.

    But you are right in general the EQ is one of the main aspects I am currently experimenting. I change carrently my Elgar recordings rendered not only with another more the basis and less the highranges supporting EOs but also namly in the Elgar Serenade op.20 with supporting middle and lower voices of the score in order to get a fuller overall sound.

    But No, I did not changed the Suk-Serenade recording yet. I still continue aswell working on new Synchron projects to cover the whole range original written music for Stringorchestra of the 19th and 20th Century but getting in that way also more distance to previously done propjects, relistening and than perhaps trying to improve what I think I might improve.

    In general the Synchron-Sound is very rich in the higher ranges which is good as they have as it seems to me an important part for giving the characteristic of real recorded Violins what I like very much and do want to keep But sometimes this aspect of the sound seem to me so strong, that I also feel with Synchron some necessity to take care 'a bit' for the warmth of the sound.

    My current strategies are

    1) EQ

    2) take care that the accompagning lower voices of the score are always present enough.

    (3)I think this might depend to a certain amount also to the kind of composition. So I am curios how you would think about my next a little bit more 20th Century music like project which will be online in the next days, and which seem to me as composition perhaps a little bit less cheerful and with a bit more romantic warmth.

    Again thank you for listening and commenting that precisely and honstly.