 The Clarinet BBoard
|
Author: Ken Shaw ★2017
Date: 2003-08-05 15:58
The Opera Company of Brooklyn, a young singers' workshop, has set up a performance of The Magic Flute with a virtual orchestra. The head of the company says it's better than performing with a piano, and anyway, "This is just one little performance."
Riiiight!
To their credit, Marilyn Horne and Deborah Voigt have resigned from the company's board.
See http://www.nytimes.com/2003/08/04/arts/music/04OPER.html
Live music is sinking fast.
Ken Shaw
|
|
Reply To Message
|
|
Author: Brenda
Date: 2003-08-05 17:57
Now if the audience would resign en-masse that would be something! The more reason to educate youngsters with acoustic instruments up close, they'll recognize the superior sound and complain when something else is offered as a cheap substitute.
|
|
Reply To Message
|
|
Author: Dan Shusta
Date: 2003-08-05 18:31
Yes, it is and I'm not really sure anyone can do anything about it. Oh yes, there can be protests of all different kinds, but, technology (Hmmm, I think I'm beginning to hate that word!) has certainly deleted various jobs and I'm not totally sure we are better off because of it.
When movies first came out, there was always someone sitting at the piano to provide the necessary background music. Then technology stepped in and provided a way to "prerecord" this necessary element of the show, but, in the process... I'm beginning to think that an immitation "sterile" commodity was introduced that lacked the essence of the live music.
I'm sure it saved money, but, I believe the audience received a "synthetic, cheaper" experience because of the change.
IMO, it appears that change is inevitable.
However, I believe that there is something that we can do. And that something is to continue to show others, and especially children, the wonders of listening to and playing a musical instrument.
We need to be proactive in introducing the beauty and enjoyment of seeing a person or a group of people working together to produce not just wonderful sounds, but, the "feeling" that is so unique to live music.
IMO, this is why this BB is so important. We need to go out of our way to not only answer questions, but, hopefully to express to others what wonderful experiences that we may have gone through recently.
I, personally, would like to see more experiencial posts wherein recent playing AND listening experiences are shared.
Maybe the money won't be there...but the feeling of joy in creating something musically beautiful has to be experienced to be fully appreciated.
Just a few of my thoughts...
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2003-08-05 21:02
"The head of the company says it's better than performing with a piano...."
I would certainly love to hear an explanation of *why*. I think the head of the company has his head... well, I don't agree.
Regards,
John
|
|
Reply To Message
|
|
Author: diz
Date: 2003-08-05 22:26
Ken Shaw says:
"live music is sinking fast"
if it's based on one performance with a so called virtual orchestra then I think you're over-reacting just a touch. Don't get me wrong ... the minute Opera Australia puts a computer in the pit and gets rid of the orchestra - that's the time I demand a refund.
|
|
Reply To Message
|
|
Author: David
Date: 2003-08-06 00:06
The wedge is already here. On CDs of popular say, tenors, There may be little in the way of a mention for the orchestra in the sleevenotes (sic).
And I'm fairly sure it's not even an anonymous session band*. When you hear it, the "orchestra" sounds just wrong. Getting higher notes by playing the same sample back faster yea even unto the realm of the munchkinized altissimo sounds bland and bogus.
Even easy listening music, however devoid of dynamics and syrupy (I'm thinking Semprini) it might be, or processed to death (at the risk of showing my age, does anyone remember the Decca Phase 4 sound?) is still instantly recognizable as being played on real instruments by real people.
This soapbox is worryingly high. I'll get a nosebeed unless I climb down immediately...
*absolutely no disrespect meant to session players. They do it for real, and I can't.
David
|
|
Reply To Message
|
|
Author: GBK
Date: 2003-08-06 05:28
David said:
>does anyone remember the Decca Phase 4 sound?
Jim E. said:
>"Phase 4" was a London Records series of recordings.
Both are correct.
"London" Records Inc. (New York, N.Y.) was the American label owned by British Decca (Decca Record Co. Ltd.). They specialized in releasing recordings from England (London Symphony Orchestra, Royal Philharmonic, London Philharmonic, etc...)
Most of the records were pressed in England by Decca, with the covers being printed in America by London ...GBK
|
|
Reply To Message
|
|
Author: GBK
Date: 2003-08-06 15:04
If you have never heard an "electronic orchestra", you must listen to some of the samples on the Vienna Symphonic Library site.
http://vsl.co.at/intro
Click on "Demos", then "Classics". Start by listening to the Johann Strauss.
Frighteningly close to real ...GBK
|
|
Reply To Message
|
|
Author: David
Date: 2003-08-07 17:21
Strauss and the Jerry Goldmith were very realistic, but the other demos of the single instruments were a little less successful.
Wind didn't come off too badly [although they dodged trying to emulate a clarinet, I see ], but the String Ensemble / Solo Violin was shocking. Pass me that Mellotron. And a dry ice machine...
|
|
Reply To Message
|
|
Author: Todd W.
Date: 2003-08-08 00:08
David --
Although it's not listed as one of the instruments on the main Pro Edition demo page, if you click on one of the woodwind instruments, when you get to that screen, on the left side is a list of the woodwind sample/demo instruments and a Bb clarinet demo is listed -- short and OK.
Todd W.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
