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Soundings length


EdwardHall

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Approximately how many minutes is "Soundings" in its entirety? Is the version that appears in "A John Williams Celebration" Blu-ray the whole thing?

The full piece is 14 minutes long and it was performed in its entirety at the JW Celebration concert.

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Yes, seems the JW Celebration concert has the full length, at as good sound quality as we're likely to hear for the time being - until a studio recording is made.

Since hearing the piece in it's premiere, I've been fascinated, especially with the final 'movement' (The Hall Rejoices). I've succeeded in ripping the audio from the blu-ray and rendering a 3:46 audio track of this movement. I've been playing it on repeat for 3 days now :D.

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I think the original radio broadcast version of the Soundings premiere sounds better than this new one (as far as pure audio is concerned), but this has the benefit of visuals, of course.

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Both are very wet recordings, naturally (the WDCH is a wonderful hall when it comes to reverb), but I'd prefer a more close-miked (though not necessarily dry), focused studio recording along the lines of Shawn Murphy's more recent efforts (e.g. TINTIN)

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Both are very wet recordings, naturally (the WDCH is a wonderful hall when it comes to reverb), but I'd prefer a more close-miked (though not necessarily dry), focused studio recording along the lines of Shawn Murphy's more recent efforts (e.g. TINTIN)

Wouldn't that kinda miss the point of the piece?

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Approximately how many minutes is "Soundings" in its entirety? Is the version that appears in "A John Williams Celebration" Blu-ray the whole thing?

The full piece is 14 minutes long and it was performed in its entirety at the JW Celebration concert.

Man, it's been a while. Fantastic piece.

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Wonder why he changed so many of the electronic bits to acoustic ones. :(

Specifically from 9:30 to 10:04, which in the original performance featured a wonderful bell-like synth pad, but here is taken by the celesta, or at least a synth celesta.

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Both are very wet recordings, naturally (the WDCH is a wonderful hall when it comes to reverb), but I'd prefer a more close-miked (though not necessarily dry), focused studio recording along the lines of Shawn Murphy's more recent efforts (e.g. TINTIN)

Wouldn't that kinda miss the point of the piece?

From a purist's perspective, I guess. For me, performance of the piece in the hall it was composed for (or with an approximation of that hall's acoustics) is not a necessity ;).

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The whole point of the piece is to show off the call and response of the reverb, to record it without that reverb would be to rob the piece of its rightful purpose.

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(...) but I'd prefer a more close-miked (though not necessarily dry), focused studio recording (...)

It's entirely possible to have the orchestra close-miked and add the responses later in the form of far-miked overdubs with additional reverb.

Enough nonsense, though. This piece deserves more attention! I'd like to list a couple of my favourite moments, but there are far too much of those to choose from.

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Wonder why he changed so many of the electronic bits to acoustic ones. :(

Specifically from 9:30 to 10:04, which in the original performance featured a wonderful bell-like synth pad, but here is taken by the celesta, or at least a synth celesta.

http://www.jwfan.com/old/index.php?option=com_content&task=view&id=537&Itemid=1

According to the Cincinnati Post, Williams will alter the arrangement of 'Soundings' to fit Music Hall (CSO's concert home). Apparently, the original version of 'Soundings' was specifically orchestrated to work with the unique attributes of Walt Disney's Concert Hall. The Cincinnati Post goes o­n to report that John Williams is expected to attend o­ne or both nights.

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Why would the revised version for a different hall be played at... the original hall?

Electronic instruments = extra musicians = more money.

Why pay three / four / five extra musicians for less than 15 minutes of music? After all, we are talking about an American orchestra.

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