Years ago when I first got GPO I was still composing with Sibelius3 using only MIDI sounds to hear the music. Of course GPO changed everything but I knew nothing of mixing, modwheels and controllers. I wrote this little piece then, but it didn't sound quite as delicate as I wanted. Now, after some years of experience with GPO, I tried to mix it again.
You may know that I prefer Overture4 to write my music, but this time I used Finale2008 to play back the score, because I wanted to try it out with both the Gofriller and the Strad. I must say that I am quite impressed with HumanPlayback. I recently bought the Gofriller on the sale (thanks Gary !!) and used it here together with the Strad.
This little piece is not supposed to be "serious music" and I do realize that the oboe is mixed quite loudly compared to the strings. I'm not sure that an oboe would be able to carry this much. It doesn't matter though....
I hope you can enjoy this very short little piece.
You know, I realize you're not in Paris.. but... all that was missing was a little French accordeon, and this music had a certain "café" delicacy! (une délicatesse Parisienne... je ne sais pas si celà c'est bien traduit dans mes mots)
And that's one of the lovely things about GPO - if you write the right dynamics, well, if you hear it, then the chances are VERY good that it WOULD sound as you wrote it. I heard no issue at all with the oboe. Maybe a tiny bit too "present" and foreground, but no real balance issue.
I did note one awkward counterpoint/harmony issue about halfway in that sort of grated on my ear, but without a score it's difficult to point a finger and say "there".
I very much enjoyed listening to this; such nicely crafted harmonies with a very sensitive touch on all of the solo instruments. I have no idea how to pronounce the title of this, but I'm sure it sounds beautiful -- befitting the music to which it's been attached.
Thank you for posting this "redo" -- it was well worth your effort!
For me it's always an Event when you post music for us here in The Listening Room.
And this piece is certainly the perfect example of why I think that's true.
This is as masterfully written and recorded as anything I've ever heard here, and that's saying a lot considering how many wonderful pieces we're fortunate enough to hear on a constant basis.
And it's more effective than many pieces, so confident and sure handed in its romanticism. No dreary broodings or academically obtuse experiments - just rich, wonderful music.
Which is to say - I rather like this.
Why be concerned if an Oboe could really carry that much. It doesn't matter, as you said, unless one is obsessed with making recordings which only simulate the way orchestras sound from one vantage point in the middle of the house. I prefer recordings to be the best they can be, and in our virtual music world, that means picturing soloists with a mike close to them if needs be.