Here it is: my second You-Tube recording! And just in time because during the week, 6 more countries have been added to the list! Welcome to: Belgium, Japan, Lithuania, Poland, Portugal, Venezuela and Vietnam !
In a few other posts, I had complained about my sound being adversely affected by where I put the microphone and where I stand. That is, the house itself can add buzz and make my sound more shrill. This time, I found a good layout that preserves my real sound BUT:
- I did the recording on 2 different days (same reed, same position of microphone and myself).
- There are settings for volume and recording level on the microphone (recording device) AND on the mixing software.
- I forgot to write down these settings: the 2nd day sounds different than the 1st day!
So, in both dances, you do have what I really sound like, but the sound is still different: it’s like if you were sitting and/or if the instruments were located different places in the concert hall on the different days.
I have to admit, I don’t like multi-track recording because of the required mixing: its not like taking a live performance…. but it is a WHOLE lot easier!
I had never heard of Laurischkus before this Music Minus One production. I cannot find much about him on the internet either. But there is definitely a Satie-esque impressionistic aura about these 2 dances.
I am mostly a lover of the Baroque, but I really like impressionist music, just as I really like impressionist painting though Rembrandt remains an incontestable master. Despite the simple melodies, it explores harmonic colouring and sound-scaping that delves more deeply than the very clear and precise imagery of the classical period or the technical supremacy (for composition, in my opinion) of the baroque. I’m sorry to use such fluffy and meaningless language, but its very hard to explain.
Impressionistic music, like the painting, has its difficulties: because it is not as clear and well defined as the classical, interpretation and soul must lead the way more than the notes and dynamic markings. Luckily, Max Laurischkus, like Eric Satie, wrote catchy tunes that help both the listener and the performer. Luckily, these tunes do not require a lot of facial endurance to play (unlike Bach)! Perhaps next time I’ll be able to do the Debussy and Glière I’ve been wanting to do from the start.