Some people love huge orchestral transcriptions of Bach organ works. I find them abhorrent, but hoards of people love them. Turns out both are satisfying presentations of the same music (to some) even if they don’t tickle everyone’s ear.
Similarly, I think a brandenburg concerto sounds better played by a historically informed orchestra on period instruments… but I don’t want that culture to become so puritanical as to stop “modern” orchestras from playing them too.
Very impressive, and so very interesting to be able to listen to such quality directly from the score. It seems as if the holy grail is at arm’s reach.
How much time did the CC work take compared to just writing the score?
(As I listen more and more, I’m imagining myself playing the alto, but from the middle of the piece and onwards a ramp exists on my CC lane up to the final note, bringing me up sharp nearly a semitone. Even in daydream, I can’t break free of my quarantine chops. )
Unfortunately, it’s a long work. By memorizing the detuning values, one could go much faster, but I’m still forced to check my table. And then, you have to listen to it more and more times, until you find the right balance.
If, and when, we will be able to send pitch bend messages from a playing technique, this would be a very fast operation.
Ok – so, maximum Humanize value going toward the end!
… adding to the above: the best way to deal with these things would probably be an implementation of the Hermode system, taking care of all the dynamic tuning matters, in Dorico. And, obviously, a way to make it talk with the virtual instruments.
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