June 19, 2008 in Concerts, News and Events
Markand Thakar, left, conductor of The Baltimore Chamber Orchestra and Paul Henry Smith.
Innovation - with the Baltimore Chamber Orchestra
Matthew Quayle’s “Gridley Paige Road”* for string orchestra performed first by The Fauxharmonic Orchestra and then by the Baltimore Chamber Orchestra, Markand…
January 12, 2008 in Recordings
August 10, 2007 in 2007 Adagio Contest Finalists
2007 Adagio Composition Contest Finalist
“For the Fallen” was selected as one of three finalists from over 160 worldwide entries to the 2007 Adagio Composition Contest.
About the Piece
”For the Fallen” is a tribute to those who have lost ther lives in the war in Iraq.
About the Composer
…
August 10, 2007 in 2007 Adagio Contest Finalists
2007 Adagio Composition Competition Finalist
“Reveries” was selected as one of three finalists from over 160 worldwide entries to the 2007 Adagio Composition Contest.
About the Composer
Composer David P. Sartor (rhymes with “Carter”) received his education at the Blair School of Music, the University of…
August 9, 2007 in 2007 Adagio Contest Finalists
2007 Adagio Composition Contest Winner
“Gridley Paige Road” was selected as the grand prize winner from over 160 worldwide entries to the 2007 Adagio Composition Contest.
About the piece
“This piece was inspired in part by memories of my childhood years living on Gridley Paige Road, a rural road set amid farmland, wood…

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March 28, 2008 at 11:39 am
Mark Goretsky
Dear Mr. Paul Smith, I was pleased and excited listening to all samples you generously provided on this site. I love all of them. I have been listening to classical/serious music for over 50 years and think you should be proud of such a great achievement–that clear and so natural (woody!)sound of the strings!
Great music, great interpretation, great sound!
Best wishes to the you and Fauxharmonic Orchestra,
Mark Goretsky
April 7, 2008 at 11:58 am
Mark Goretsky
People who rebel today against digital enhancements of music should remember what happened to those who rebelled against digital photography that eventually triumphed. No doubt the same outcome will be with music. And here is only one reason/example for this.
Yesterday I was listening on the radio for the orchestrated version of Beethoven’s Quartet #14. Every element - the orchestral arrangement, conducting, and the Orchestra itself - were famous on their own. But result was mediocre. Enlarged group from four instrumentalists to some 20 or more added very unpleasant noise to the music. This wouldn’t happen with digitized music–it would remain clear and enjoyable. Namely such absence of noise allowed me to guess correctly the “digitized” Beethoven. And I wish I could control the acoustical performance of my stereo.
April 22, 2008 at 6:46 am
Ion Muniz
I’m impressed by what these guys were able to accomplish. I was a teacher at Sibelius-Akatemia, in Helsinki. There was a studio that used to make the music for the guys that wrote music for orchestra. It was just tto have an idea of how it would sound. What I hear is amazing.
July 20, 2008 at 2:42 pm
YuHirà
Dear Mark Goretsky
In my opinion what you’re claiming here is wrong. Digital photography doesn’t recreate reality: it’s just a new way to record the reality. In music, it happened a long time ago:we digitally record music and nobody feels it’s a problem. What Fauxharmonic does here - orchestra emulation - is more than recording. In my mind, emulation has rather to be compared with computer graphics.
Well, but 3D techniques are far away from realism. And music emulation is likewise far away from realism. Fauxharmonic sounds don’t depart from the rules in my opinion. I’m not convinced at all.