New extract MS Page 591
This extract starts where the last one from 2013 ended. I hope the quality of the performance is better. It sounds better to me. One of the significant changes is to add a second microphone on the virtual stage. One is in the 7th row and the 2nd is where the conductor stands. I’ve also overhauled the settings in the virtual mixer which allows me to increase the presence of individual instruments and sections far more than I could before. Now I can have the choir dominate if I wish. The sound of the performance is from the perspective of a live performance and not a studio recording.
Of note is the return of the big chorus, organ and full orchestral ecstatic singing at 2’55” so characteristic of the symphony as a whole, and when this returns again at 4’24” it is proceeded by nothing less than a complete descending F major scale. This section peaks at 5’35” on a clear F major chord and is followed by a lovely rippling section in wind and strings. Some quiet clusters in the chorus, harmonics in the strings and pointilistic hocketing in the wind at 7’48” leads to a step up in the tempo at 9’15” and the final part of this extract, a vigorous section for rapid winds and loud brass with several aggressive fortepiano crescendo chords in the brass (really hard to pull off in Sibelius/VSL).
I could witter on for ever about how wonderful this music is. It is wonderful. It is also very different to the keyboard music. I believe it is much more accessible. I have read concern about Sorabji’s vertical harmony and melodic invention. Well this symphony has melody in abundance and clear and obvious vertical harmonic progression to satisfy the nay sayers. This extract has both to hear.