I wouldn’t gone on about any of this had you not made music I want to hear more of.Britten Four Sea Interludes Score Pdf. I hear the space breathing in and out and see the players. If you know the sound, it’s cohesive, shrouded, austere, then keening.
Will you be doing more Britten? Let’s get his music blowing up on mentioned the use of a reference track. A bibliophile, scandalized, marched off to cancel his library card. I heard a page crinkle uncomfortably close. “Well, would you look at that.” I shrank, having just spoken aloud in a library for the first time ever. It was looking through a card catalog of dried and flattened insects. I thought of why I came, and started in the middle. Mahler, Rossini, a Bach chorale collection. The spines were so thin, and nobody ever had contrived a way of labeling them. That's a bit like my music, and that's the reason why I love these pieces so I was at the Main Library in my city today.Īfter hearing your tasty rendering, I wondered if the weekend couldn’t be better with a really nice Britten score. I've also lived in a house of fishermen, feeling their rhythms and sharing their lives. When waking early in the morning, my walk at the seaside let me see that particular light, see the pink in the water, smell that particular odor, waive to the fishermen repairing their fishnets after a night of work at the sea. Also on the East, with the sun rising from the sea. I'm from a similar village, in another country of the same continent. On the contrary, Britten was from a small village of little homes, right at the sea. I'm still in an artificial territory, a solid support stolen to the water.
When losing myself in La Mer I feel I'm more on a yacht or a small boat, than at the sea. Trying to explain it to myself, I'm thinking that Debussy grew in a big and lively suburb of Paris, right in the main street, and lived all his life in Paris, already a megalopolis.ĭebussy's relation with the sea should have been the one I see in many people coming from big towns: something external to their body and life, to be conquered and dominated as an exciting game.
This latter probably much more, for reasons that are easy to understand.įor some reasons, I feel much more the sea in these pieces by Britten, than in those of Debussy. These Interludes are probably the best known music dedicated to the sea, together with Debussy's La Mer. Any issues are inherent, possibly unavoidable sample-based headaches.Ī consideration about the music (from the) sea. I feel like the performance itself is thoughtful and musical aside from some potential for more expressivity around the climax. Overall this is a pretty good showing for the newer libraries recorded at Synchron (and, again presumably, Synchronized Woodwinds). I think that brief swell to ff in the horns could also use some massaging. Or, I should say, I don't have an issue with it until the climax beginning around 2:30 when the stereo image begins to feel rather cramped and unimpressive for the material. I don't have any issue with the apparent width of the ensemble but that'll vary according to what recording is being referred to. The effect may be aggravated by what I assume are the old woodwinds being "Synchronized" via the MIR process, the result of which simply lacks the clarity of the non-Silent Stage libraries and interferes. I second the "hiss" observation I'm guessing it's the usual issue of bow noise one encounters with exposed sampled high strings.