FNiMN

[oddoneout]

For me, judging from the playlist, it's just another musical snippets programme albeit performed by a live orchestra rather than on CDs. Thirteen separate pieces, ranging from Mahler to Moon River?

The concert itself was 11 pieces(the VW and Saint-Saens were interval item, and end of concert broadcast filler, respectively) of which 2 ( and possibly 3 if Moon River isn't regarded as a stand alone song) were parts of longer works.
Snippets to me suggests items cut from longer pieces, and are not the same as short(but complete) works. A lieder recital could have a fair number of separate items in it but I don't think one would level the charge of snippets at the content just on that basis.

[LMcD]

Snippets to me suggests items cut from longer pieces, and are not the same as short(but complete) works. A lieder recital could have a fair number of separate items in it but I don't think one would level the charge of snippets at the content just on that basis.

In which case, only the Williams, the Britten, the Frank and the Revueltas were 'snippets'. Some of the complete short works were new to me.

[oddoneout]

In which case, only the Williams, the Britten, the Frank and the Revueltas were 'snippets'. Some of the complete short works were new to me.

I wasn't sure about the Revualtas - the quick search I did wasn't always clear about whether that item was a complete or part work. And yes I should have included the Britten in the count strictly speaking although as on Friday I have heard it as a standalone item on occasion so that's why I didn't.

[LMcD]

I wasn't sure about the Revualtas - the quick search I did wasn't always clear about whether that item was a complete or part work. And yes I should have included the Britten in the count strictly speaking although as on Friday I have heard it as a standalone item on occasion so that's why I didn't.

The Revueltas is a complete work - a two-part concert suite based on his score for the film 'Ferrocarriles de Baja California'.
Which would seem to reduce the number of 'snippets' to 3.

[hmvman]

[QUOTE=Ein Heldenleben;n1312208
The final transmission compression levels aren’t really determined by those doing the balance . Indeed they are sometimes ever so slightly ignored by them but that’s a different story ![/QUOTE]

Yes, I understand that some compression is needed to fit into the FM bandwidth and to prevent overloading the transmitter signal, but adding compression to the balance in order to increase volume for whatever reason is another matter - artistic, technical, marketing* etc.

* e.g some listeners might say they prefer CFM to R3 because it's 'louder'.

[Ein Heldenleben]

Yes, I understand that some compression is needed to fit into the FM bandwidth and to prevent overloading the transmitter signal, but adding compression to the balance in order to increase volume for whatever reason is another matter - artistic, technical, marketing etc.

As I was reminded by a fellow ex BBC forumite the aim in a classical music balance is to avoid compression during recording except for a very specific effect . The idea is (or was ) to use the faders to anticipate loud passages and pull things back to avoid transmitter compression or indeed limiters (a very severe compression) . You regularly hear in a live Prom for example the limiters cut in because it is well nigh impossible to reduce 80dbs of live orchestral range to a mere 40db in the case of my local transmission situation.

In tonight’s Cosi (recorded as live ) I haven’t heard anything untoward* but havIng been to the ROH many many times the quiet bits aren’t as quiet and the loud bits aren’t as loud as being there.

* nice balance but sorry you’d never hear the woodwind that prominently in the theatre ditto the fortepiano .

PS some very good singing which is arguably more important !

What a miracle this work is…

[hmvman]

As I was reminded by a fellow ex BBC forumite the aim in a classical music balance is to avoid compression during recording except for a very specific effect . The idea is (or was ) to use the faders to anticipate loud passages and pull things back to avoid transmitter compression or indeed limiters (a very severe compression) . You regularly hear in a live Prom for example the limiters cut in because it is well nigh impossible to reduce 80dbs of live orchestral range to a mere 40db in the case of my local transmission situation.

In tonight’s Cosi (recorded as live ) I haven’t heard anything untoward* but havIng been to the ROH many many times the quiet bits aren’t as quiet and the loud bits aren’t as loud as being there.

* nice balance but sorry you’d never hear the woodwind that prominently in the theatre ditto the fortepiano .

PS some very good singing which is arguably more important !

What a miracle this work is…

Yes, interesting points. I would subscribe to the view that a recording is (and has to be) different to a live performance (as experienced by a listener present at the performance). I have no problem with the 'spotlighting' of certain instruments in a recording (or broadcast) if it's at the service of the music. People I know have criticised John Culshaw for his 'knob twiddling' but he recognised that a recording had artistic potential in its own right as distinct from a live performance.

[Ein Heldenleben]

Yes, interesting points. I would subscribe to the view that a recording is (and has to be) different to a live performance (as experienced by a listener present at the performance). I have no problem with the 'spotlighting' of certain instruments in a recording (or broadcast) if it's at the service of the music. People I know have criticised John Culshaw for his 'knob twiddling' but he recognised that a recording had artistic potential in its own right as distinct from a live performance.

It’s all knob twiddling ( and microphone positioning ) isn’t it ? It’s an artificial product that can either be an attempt to replicate the experience of some one in the stalls centre in a an unrealistically “perfect” acoustic or in the case of Culshaw a kind of glorious seductive soundstage that maybe (me never having heard it) approaches the blend at Bayreuth with its famous orchestra hood.
Tonight’s Cosi sound balance was satisfying but not really what I hear in the Covent Garden stalls , amphitheatre or rhs lower slips where I tend to sit in either performance or rehearsal.

[hmvman]

It’s all knob twiddling ( and microphone positioning ) isn’t it ?

Absolutely agree! Every producer and engineering team will have a different approach I suppose, but, as I said before, as long as it's at the service of the music all well and good.

[Ein Heldenleben]

Absolutely agree! Every producer and engineering team will have a different approach I suppose, but, as I said before, as long as it's at the service of the music all well and good.

In the end the test is - is this an acoustically and musically satisfying experience-? just as it would be in the concert hall . How it’s achieved is part of the alchemy of art. You can delve into how it’s all done or just enjoy it - it’s entirely up to the individual.

[jonfan]

In the end the test is - is this an acoustically and musically satisfying experience-? just as it would be in the concert hall . How it’s achieved is part of the alchemy of art. You can delve into how it’s all done or just enjoy it - it’s entirely up to the individual.

[smittims]

It was pleasant to switch on and hear Mozart's concerto for flute and Harp being played in this week's programme; unpleasant to find it was only one of the three movements. And in a programme supposed to be celebrating Ernest Tomlinson it was disappointing to hear so little of his music. I was hoping to hear the Rhapsody and Rondo for horn and orchestra, which Ifor James played on Radio 2 in he 'BBC Festival of Light music' back in 1968 (or 9).

[LMcD]

In the end the test is - is this an acoustically and musically satisfying experience-? just as it would be in the concert hall . How it’s achieved is part of the alchemy of art. You can delve into how it’s all done or just enjoy it - it’s entirely up to the individual.

[LMcD]

Katie Derham was commendably restrained in last night's programme, which offered enjoyably contrasting soloists - a soprano and a bassoonist.

[oddoneout]

Katie Derham was commendably restrained in last night's programme, which offered enjoyably contrasting soloists - a soprano and a bassoonist.

Perhaps the venue exerted an effect? I wasn't too keen on the soprano - her rendition of Linden Lea in particular I found rather painful, but the audience seemed happy enough and it's quite possible it sounded better in the venue than over the airwaves.
I see that the omissions bug is creeping in to the schedule listings again, with none of the songs in the second half appearing in the Music Played list. Wednesday's CE didn't have either responses or a hymn according to the Music Played list.