| re: Mr Andrew’s Vision Orchestration question | |
| Last Edit: Chromolume 06:39 pm EDT 06/15/24 | |
| Posted by: Chromolume 06:34 pm EDT 06/15/24 | |
| In reply to: Mr Andrew’s Vision Orchestration question - wizrdofoz27 06:12 pm EDT 06/15/24 | |
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| It is indeed synth harpsichord (same patch is used for "The Blame") but to my ears it was a little buried in the mix - it's more audible on the OBCR. For this run, Tunick did a little re-adjusting - the 2nd keyboard was eliminated and the 2 keyboard parts consolidated, in favor of real harp and more real strings. (A good deal of the original keys 2 part was string patches, meant to augment the sound of the live players.) It seemed to me that he probably added more music for the harp to play, but I wasn't able to watch that closely. IIRC, the synth harp is mostly in Keys 1, but it's still so much nicer to have the real thing. The synth, of course, provides other notable keyboard-oriented sounds like the harmonium for "God Lift Me Up." Occasionally I think I may have heard touches of things that I didn't remember being there, but I haven't really "lived" with the score intimately since I conducted it (from keyboard 1) in 2017. So it's been a while. Tunick might have touched things up a little. Or, it was just the amazing Rob Berman bringing out details. Apropos the synth harpsichord - probably Tunick's most famous use of that sound is in "Sorry Grateful." But I find he also loves to use it to create tension - as he does in those two Titanic songs. But also, both of Luisa's songs in Nine (My Husband Makes Movies and Be On Your Own) rely on that edgy sound, and "Stay With Me" from Into The Woods is another song where he uses that sound to great effect. |
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