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Well, it sounds a bit like Bartok, also Shostakovitch in his more furious moments a la Symphony 10. Yep, pretty furious.

I felt that a few solos were given too much prominence against the background, the violin in particular. It reminded me of some recording engineers (American Columbia's for instance) who would suddenly bring solos to the fore to make sure we heard them but it wouldn't be what you'd hear in concert). I felt the close let me down a bit - but that's just my opinion. If you're happy with it, it's your work after all. Thanks for presenting it.

Can I ask what sample library you were working with?

It reminded me more of Stravinsky. Specifically, the three blockbuster ballets, "Rite," Petrushka and "Firebird."  I don't hear much Bartok, but my knowledge of his music is limited. Shostakovich, yes, I get that, it definitely has some of his frenzied expressionistic style.

With music such as this, I must be careful to not allow my preference for more traditional styles to cloud my judgment. I can appreciate the care with which this was put together. The lines are clear, the form cohesive. Like Dane I wonder how it would sound in live performance. but that remark applies to 90% of the music heard on this forum. I both desire and greatly fear an actual performance of my music. The thing I wonder about here is whether anything but a totally professional orchestra would be able to pull this off. But that's OK, you wanted to write this, and you did. It exists in the form you have provided, and it certainly is interesante. 

I was  thinking of Bartok's Miraculous Mandarin as an inspiration. The writing isn't nearly as complex as in that "miraculous" piece, but then, I'm not nearly the genius that Bartok was. 

Dane, in fact, I stole some of this material from others of my pieces that were inspired by Stravinsky. (i'd say that I especially love the music of early 20th century Russians and have modeled a couple of my pieces on their works).

My Strings and Brass are all EastWest. For the winds, the double reeds are ESX 24,from Apple's standard AU library (they come free with  Logic Pro). I chose these because they feature customizable vibrato parameters, and I don't know whether other libraries have that feature (the ads don't ever mention it). The remaining non-vibrato winds are all Garratin. 

Michael, I completely agree that the solo strings are mixed out of balance with the rest of the orchestra as though they were miked too closely. My bad.

Thank you both for listening to this piece.

I had to chuckle. Somebody at KVR pointed out that the final passages of this piece were more reminiscent of Bernstein's "Cool", from West Side Story. Damn! He's right! I'd been totally unaware.

This work I find really great. It is sort of total, it contains everything. It has melodies, rhythm, orchestra, solos. Very impressive work.

Just one remark, probably personal: panning, why is it so extreme? Sometimes I hear e.g. the basses in one ear only, feels unnatural. But it doesn't harm your wonderful work.

Congrats to you.

Kjell



Kjell Prytz said:

This work I find really great. It is sort of total, it contains everything. It has melodies, rhythm, orchestra, solos. Very impressive work.

Just one remark, probably personal: panning, why is it so extreme? Sometimes I hear e.g. the basses in one ear only, feels unnatural. But it doesn't harm your wonderful work.

Congrats to you.

Kjell

Thank you Kelly. I had been in the habit of keeping the separation much tighter than this until getting complaints from people (in this forum, in fact), that the separation needed to be much wider. Yours is the first such feedback I've had. I appreciate it. It only confirms that, if my ear is satisfied, I probably have it right.Thank you.

Forgot to mention that it surely depends on sound system. The effect I hear is only relevant for headphones. Using loudspeakers, both ears will hear the bass although everything comes from the right.

Kjell

Art Lowell said:

Thank you Kelly. I had been in the habit of keeping the separation much tighter than this until getting complaints from people (in this forum, in fact), that the separation needed to be much wider. Yours is the first such feedback I've had. I appreciate it. It only confirms that, if my ear is satisfied, I probably have it right.Thank you.

I would only remark that with the orchestra that I have listened to in person for years, the Contrabasses have been lined up along the right end of the ensemble, stage-front to stage-back behind the celli. But their sound will certainly project further more toward the center, so that needs to be taken into account, also. How the instruments are situated is at the taste of the Music Director.

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