Having an artistic conception is the assumption, but transforming it into a congruous playback is troublesome.

Therefore I admire the musical creations of Paul. I am sure, all are basing in very hard work.

And what about CD’s? TECHNICALLY all digital recordings ARE samples, they just take up more time than short one-note or one-phrase samples. But do we complain that CD’s have replaced live musicians? If we complain about “virtual” orchestras, then we have to do something about the CD problem as well.

Finally, composers like myself have the impossible task of paying live performers if we’re even able to find them at all. Where I live, it isn’t possible or practical to find musicians willing to try something new. Come on, when was the last time a computer complained to you about the difficulty of a piece? I had one passage that called for a tremolo played “sul ponticello” that my quartet refused to play because “it doesn’t sound pretty.” I may not be a string player, but I could have easily gotten to some string instruments, played it myself, and had it triggered in time with the computer with no questions asked.

If musicians feel threatened by digital instruments (and they shouldn’t), let them be reminded that the survival of their livelihood ultimately rests in their friendliness towards contemporary composers and their openness to new forms of expression.

My kudos to you, Paul, for providing an invaluable service. Maybe one day I can send some business your way.

thanks and cheers from Argentina!

Christian Fernando Perucchi

Thank you, and I look forward to hearing from you soon!

J. Morello

The number of groups, venues and concerts is very small compared to the number of available works. If I were to try to get my pieces performed by a live orchestra, it would be an uphill struggle at best. I could try to hire an orchestra, but the cost of that is prohibitive.

If people really care about musicians working (and I certainly do, because I am a working performer) the solution is not to decry digital performances, but to find a way to fund live performance.

Whether people want a finished product, or something to serve as an audition presentation, my best guess (although it doesn’t say anywhere here what the cost is,) is that the Fauxharmonic will bring a quality performance within the reach of people who aren’t wealthy, like… say…. musicians.

This is an excellent idea for the likes of film scores where the realism of the orchestral sound is often secondary to dialogue or onscreen events. I don’t suppose you care to divulge the computer setup you are using?!? The samples (although skillfully tweaked by yourself) are the best I’ve heard. I’m planning on investing in a software synth library soon and am interested to know about real-life (websites are vague!) system requirements for the higher end libraries.

In response to others comments, I am doubtful if a digital orchestra would ever replace a real orchestra in the forseeable future (although I know this is not what you are aiming to do). Personally, I listen to, or more importantly, watch real musicians play for the combined visual-aural experience. The joy of a live performance for me has a lot to do with the “human” triumphs of the individuals involved in creating the music. These human triumphs make physical, mental and emotional demands of the players/conductor. Computers can only mimic what humans tell them to do, they don’t feel emotion (as far as I know!) and they are not subject to the same physical/mental constraints as humans - therefore, the experience is incomparable with a real orchestra’s performance. Does this make sense?

Yes, I remember very well the notion that “sound is not music, but sound could become music” and so forth. And, indeed, you raise a good question: is there the opportunity for transcendence in a “complete virtual environment.”

The problem is, it is not a “complete” virtual environment. There can be no music without the mind of a listener. But even with a digital orchestra, there is still a listener who is decidedly not “virtual.” It is in the mind of that listener where music may (or may not) take place.

As I recall, there was nothing Celibidache ever said that would suggest that only sounds made by certain technologies could offer the opportunity for a transcendant experience (say, only wood, metal, horsehair and plastic — but not loudspeakers).

And, even if he did say that, it would not have been true precisely because the “transcendance” or whatever you want to call the “musical experience” takes place in the mind of the hearer. The sounds only present the conditions or possibility for that experience emerging.

btw: I was a student of Celi 1987-1996, sadly I never met you in Munich

best regards//Lonnie
Prof.Leik[at]gmail.com

My language is very tonal. I use software to aid the task of composing, and for previewing my works. I hope we can talk more anytime you wish.

Good luck and congratulations for your efforts! Long live to classical music!