Hi all,

Here is my new piece Genesis II, for orchestra, choir and narrator . This is the first part, the exodus from space.

Unfortunately, the VSL choir cannot sing words or syllables. The language of the narrator is Dutch.

Men left earth some 200 years ago after they had completely ruined the planet. It had become an arid and waste place, uninhabitable. They thought that they could have a new start in space, somewhere on a 'world-like' planet, but they couldn't find such one. After a 200 years odyssey, they decided to return to earth, hoping that it would have restored itself into a safe and habitable world again. The longer the space journey lasted, the more the old stories about the earth they had left, tortured them and made them longing for such a brilliant planet. Finally they convinced themselves to return...

The piece was made with exclusively VSL instruments and voices (a combination of Synchron and VI instruments)  with the new Sound Variations (of Synchron) and my own designed Sound Variations for VI instruments in Studio One Pro.

 If you could use the Sound Variations (VI Pro) for Studio One, you can contact me and I will send them for free. They are interchangeable for most sorts of instruments.

Genesis II, part I

Jos

Very interesting piece, with a wonderful mix of the orchestral and electronic instruments. Very good voice as well.

As usual, a brilliant composition. Thanks for sharing, Jerry.

Jos

Congratulations, Phillippe. You've captured the real historic spirit in performance and sound. The instruments and your experience in 17th - 18th century music did it. Absolutely wonderful.

Jos

Hi Markus,

This is a very fine composition, which I love a lot. It's indeed like a patchwork of lovely themes knitted together wonderfully.

However, some small remarks. 

To start with: the playback stopped at 7:55. Next there is clearly an issue with the room acoustics. The woods are very distinct in their presence and sound perfect, but the strings seem to be in another room and sound a bit dull as if they're behind a curtain. Suddenly the pizzicati enter and have a very different sonic impact (a lot clearer and louder). And finally the slurred legatos: there are various gaps between notes (not overlapping enough? Or the wrong patches?). So if you want to give more splendour to your excellent composition, you could consider a remix and a different approach to the acoustics and reverb.

Thanks for sharing this piece. It was a pleasure to listen to it,

Jos

Hi Stefan,

With great interest I have listened to your score. Very well done and with a lot of creativity. The ambience is perfect for the type of music: detailed and transparent so that every single detail is audible.

Thanks for sharing,

Jos

Hi Jerry,

I love the movement. It's so hard to integrate a live instrument into a virtual ensemble, mainly with electronic instruments, because there is no acoustic interaction. You've succeeded well in bringing the two together. The clarinet performance is superb and meets perfectly the ensemble. Bravissimo!

Jos

Hi Leslie,

Wonderful little piece, perfectly constructed. The performance however is a bit straight forward and shows little emotion, despite the clarity and close recording. Some more 'personality' of the players would be welcome.

Thanks for sharing,

Jos

Hi William,

Glad to hear something from you!

This is a huge and valuable collection of fantastic scores. I've just finished listening to "Tomorrow", a great symphonic poem. I don't think I've heard it ever before, but it is a true sonic adventure, masterfully orchestrated. The final theme is simply stunning.

Is this collection something like your musical testament? Anyway, it really is quite an achievement of knowledge, art, experience and musical taste. No matter how one looks at it, it is a laud to the VSL libraries and true artistry!

Thanks for sharing your collection,

Jos

Hi all,

I've just learnt that our friend composer Paul T. McGraw passed away last year (2020). He was a devoted christian and excellent composer, always searching for the ideal acoustic to render his truly rich compositions. He was a consequent user of the VSL libraries, so I felt it my duty to communicate his passing away here and convey my sincerest condoleances to his relatives.

In honour to Paul, his SC page:  https://soundcloud.com/paultmcgraw

Jos

Thanks, MMKA. I love these little pieces. Some more are to come soon.

Jos

Hi Philippe,

It's not so much the position of the violin groups, but rather the harsh separation from the entire orchestral ensemble as to left-right positioning. Since the violins 1 and 2 are left orientated, the entire violin group comes almost exclusively from the left. That is what I meant. In a 'real world' orchestral setting, even with that position, they sound through the full orchestra (left most, mid somewhat less and right rather weak but still present). That is not what I hear with the prerecorded positions, they sounds as if they are exclusively left. Their sonic quality is fine, but the positioning has room for improvement (such as the choice for left or right for the 2d violins, and the horizontal balance like it was with the Power Pan). Consequently the same for the violas and the cellos (and basses).

Hi Philippe,

Brilliant as usual and a very good exercise with the Elite Strings. You found the right dose of reverb to keep everything clear and transparent. But I still have some problems with the splitting of the orchestra: the left position of the violins (1 and 2) sounds so unnatural to my ears. I don't know any classical CD with such separation. This is not your fault, but the result of the recording and placement. Maybe it can be corrected manually. I hope so, since I have purchased the Elite Strings as well (see my test piece "La Lejeune"), with the same positioning...

Good job again, thanks for sharing!

Jos

Hi Chris,

This is a rather good version. Only you miss a bit of the details of the instruments because of the big reverb and recording distance.

Thanks for sharing,

Jos

A traditional contradance from about 1750, found in the collection of the French danse master R. D'Aubat de Saint-Flour, working in Ghent at that time. He collected some 120 dances in a booklet and published it on copper plate with a leather cover. It was sold to the upper middle class and nobility for the price of 2 gold ducats.

"Propres à exécuter sur toutes sortes d'instruments, avec les basses chiffrées pour le clavecin et une explication raisonnée de chaque contredanse." (These dances were notated as a melody with a figured bass for the use of a harpsichord and a description of the dance itself.)

Realised with the VSL chamber VI strings, woodwinds and tambourine

Enjoy the listen

Jos

Le Concert ou la Sabatine

Hi Yves,

As I mentioned on your SC page, this is a wonderful and very rich composition, extremely well crafted. The mix of nature sounds and music functions very well and the Irish influences are simply great. I love it!

Jos

Great theater piece with good themes and powerful orchestration! The only thing I miss a bit is the development of one or more themes. Now it sounds more like a collection of good ideas.

As to the hall sound, I like the dry ambience very much, because it doesn't mask anything and it makes you feel as if you're right in front of the orchestra, although a little 'sweetener' on top of the mix wouldn't harm the overal sound.

Wonderfully done!

Jos

You're right, Jerry, about understanding the words of a church choir. But with the digital means we dispose of nowadays, this must be better. I remember hearing a virtual (word) choir somewhere (the Praag Choir?) with pretty decent pronunciation. I'm not sure about the company and where and when I've heard this. It must be some 4 years ago... Anyway, it's worth the while to look for a good choir. For now, I'm satisfied with the Vienna choir and solos, together with the Kontakt choir (syllables).

Jos

Hi Jerry,

With growing amazement I listened to the complete series of pieces. The choir expression and setting of the lyrics is absolutely great. (Thanks to the added scores, I was able to 'understand' what was sung - the syllables and words are sometimes a bit 'funny' and don't actually pronounce what is written). This is a great realisation, despite the limits of the virtual choir. If I would have to choose one piece, it would definitely be "It's Always Worse At Night". Such a delicate balance between text and orchestra, creating in a distinct way the right atmosphere. Really masterful!

Thanks for sharing and I do hope that other members will have the courage to listen through all the pieces. It's more than worth it!

Jos

Quite interesting Stefan. Nice trumpet sound.

Jos

Just another guess...

Sometimes composers use the most practical reading spelling (for the instrument player). Just as simple as (if there's no clear tonality): rising notes get a #, descending ones a b... In the case of the example, it looks something like that. But as I said, just a guess.

Jos

Hi Dominic,

I guts it is the very first time that I meet you here on the forum and it is a very pleasant surprise! The piece you've posted is just great. It flows admirably natural and displays great skill and interplay from piano and cello. You've proven yourself having a thorough insight in the playing techniques of the cello and the piano. On top this, your recording is of sublime clear quality and in perfect balance (partly because the composition is so well balanced).

Don't be so modest, your composition and technique is highest level!

Jos

Hi Jerry,

Just wonderful. A little dramatic (with the dark complex chords), but very interesting and expressive. I love the voices and the instrument solos. Very well done!

Jos

Originally Posted by: Francesco Pirrone

Yes, Francesco. It's so sad that this wonderful forum seems to be in some sort of (summer) lethargy...

Jos

Absolutely 100%

The overall sound/mix is also very pleasant.

You're most welcome, I followed your SoundCloud profile 'cause I check SC more often than this Forum.

All the best

Francesco