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The Jongen piece is a blast and well-constructed, good tunes and great kinetic energy in the Finale. I first came across the piece when Telarc released a recording with the SFO.HDTT's offering a new recording with Houston University's school orchestra. Will execution (and persuasively idiomatic playing style) be a problem? I doubt it. Young musicians' technique is amazing these days. I see John Proffitt responsible for the recording.
The Poulenc Concerto is also included as well as a short "symphony" by Bacri. My go-to recent recording for the Poulenc, scratch that, **not** so recent recording (Good Lord, time flies!!) is Linn's.
Edits: 07/15/17Follow Ups:
. . . but the hall is SO dry. I recently downloaded HDTT's Shostakovich Symphony No. 10 (hard to believe, I know. . . ) and Rachmaninoff Rhapsody on a Theme of Paganini because the soloist, Kenneth Broberg, just came in second in the Van Cliburn Competition last month. (This was recorded well before the competition however.)Broberg was good, but I didn't feel that the orchestra was agile enough to hold up their end of the rhythmic give and take sometimes. And, believe me, I know this piece - having performed it (i.e., the orchestral reduction) several times, once with Natasha Paremski at the California State Music Teachers Convention/Competition when she was about 14 or 15.
BTW, I haven't been keeping up with Natasha for the last couple of years, so I just checked, and it's good to see that she's still sounding (and looking!) good!
Edits: 07/15/17
Just for clarification: This new Jongen/Poulenc/MSSO recording is from a Church, St. John the Divine Houston, not the Moores Opera House at the University of Houston (which in addition to being accused, on occasion, of excessive dryness also lacks a pipe organ!). The church's huge 5-manual Létourneau pipe organ is given quite a work-out in the Jongen, and the performance is captured in Immersive Surround, from the POV of the conductor on the podium. Should be auditioned in multichannel for a real aural treat.
John Proffitt
Enjoy!
The first of four releases from the 2017 Texas Music Festival will be out in September, with a new microphone placement that helps (I think) with the acoustic of the Moores Opera House.
John Proffitt
I've heard only the opening Dukas track and the opening of the first movement of the Jongen, and there seems to be a LOT of stuff coming out of the rear channels. Is that right?
Hi Chris. The 5.0 is used as follows:The Fanfare from La Peri was performed by the brass ensemble from the rear gallery of St. John the Divine, so the main presence is in the two rear (surround) channels.
All the other cuts are "full immersion" with the orchestra. Left and Right Front are approx. 12 feet apart in the middle of the orchestra, roughly between the strings and the woodwinds/brass. Center is directly in front of the conductor's podium. Left and Right Surround are in front of the violins and cellos, respectively: directly to the left and right, and slightly (about 2 feet) behind the baseline of the conductor's podium.
Therefore, in La Peri Fanfare, main sound is in the Surrounds, with the Front and Center mainly hall ambience.
In Poulenc, Jongen, and Bacri, there is direct sound from the orchestra in all five channels, with the Strings appearing to wrap around the listener's position.
John Proffitt
Edits: 07/19/17
But my wife will be away for most of the day tomorrow, so I expect to be able to "blast away" with this album! (BTW, I'm liking what I've heard so far!)
With a good, powerful subwoofer the organ 32' pedal will clear your sinuses.
John Proffitt
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