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Topic: Balletto dell'Asino

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  1. #1

    Balletto dell'Asino

    Dear friends,

    It's so nice to be back on the forum again, after all these interruptions. What is actually going on? Is somebody aware of the causes or reasons of all these drop-outs? The server seems to be very (or too) busy lately...

    Anyway, here is the entire ballet suite with a slightly different name:

    🎧 Balletto dell'Asino



    For those who heard the parts I and II, part III starts at 6'18" and is written in full classical style.

    Enjoy the listen,
    Jos
    Last edited by Max Hamburg; 10-07-2019 at 10:58 AM. Reason: adding link
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

  2. #2
    Senior Member tedvanya's Avatar
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    Re: Balletto dell'Asino

    Please tell this ignorant fool what the Balletto dell' Asino is about, I think I know, but to make sure tell this assino . I said after listening to I and II that I loved the second part most, now my revised liking is your brilliant III. You really are great. I am not the one who likes to dive into the details of a composition, rather I just enjoy the whole picture and that picture sleeps happy in my declining brain. So, when I just say I love the piece, I love the picture you made very much.

  3. #3

    Re: Balletto dell'Asino

    Hi Ted,

    With pleasure I provide you with some more explanation.

    The inhabitants (aborigines) of my village Kuurne are called 'donkeys'. That sounds like a scoff or mockery but actually it isn't. It's the result of industrial history.

    During the 19th and 20th century, the major part of our population earned one way or another a living in the flax trade (growing, preparing, spinning, weaving...). With their merchandise they went to Kortrijk, the biggest nearby town to sell it on the market. They went along the river Lys (Leie) with donkey chariots loaded with flax or finished flax products. The people of Kortrijk heard them coming from long distance by the call of the donkeys and they used to say: "The donkeys of Kuurne are arriving." So like a pars pro toto (part to indicate the whole) the salesmen of Kuurne got the nickname 'donkeys'. And today they're all quite proud to be donkeys, it's an honor to be called 'een ezel'.

    Kuurne will exist 900 years in 2023. At that occasion there will be lots of festivities and special activities like all sorts of cultural performances, with probably another concert with my music. The mayor asked me to write some special pieces for the occasion. The ballet is one of them, the next will probably be a popular song for choir and orchestra about the flax industry and the donkeys.
    My "Balletto" has an Italian title because of the classical tradition and the style in which it was written. The first part starts rather serious, but part II reveals the real content of the piece. Part 3 goes on in the same way (changing in a neat ABA), but with some mood swings (B) to end with a giant donkey call. The whole piece could be a burlesque or humoreske.

    We have a very good ballet school in the village and it would of course be great to have them dance a choreography on my music. But that depends on the village finances and their willingness to create such a dance...

    I hope that will do. Thanks for the listen and comment.
    Jos
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

  4. #4

    Re: Balletto dell'Asino

    Hi Max - I too experienced much difficulty in logging on here until 3 days ago...

    Your piece - What a glorious piece of work. You move so gracefully from motif to motif. A perfect balance of ideas, repetition, variation, growth. Very well done, and an inspiration I admire how gracefully you added toms/tympany. Did you 'tune' them? or did you use stock ones.. They fit beautifully. It took me a bit of time to realize they were there, and that I had already heard them .They didn't register for me at first.

    Excellent.

  5. #5

    Re: Balletto dell'Asino

    Thanks Mark.

    The timpani are recorded instruments (every single hit, technique...) They are indeed tuned. In a real orchestra, sometimes the percussionist has up to 6 timpani tuned differently. The can be tuned rapidly by screws or pedals (modern instruments). They can even produce glissandi...
    Today, I reworked the acoustic, the balances and the mastering a bit.

    Thanks for the listen,
    Jos
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

  6. #6

    Re: Balletto dell'Asino


    Great stuff, Max.




    Greetings,

    Raymond
    Raymond Robijns
    Youtube channel: "Raymond Robijns"

  7. #7

    Re: Balletto dell'Asino

    Amazing. The instrumentation is just brilliant. You seem to take care of everything and make it sound as a real orchestra. Question is if most orchestras even are able to achieve the same perfection? Is this a milestone in digital music you present here, Jos? If I remember correctly, you use Vienna SL aren't you?
    I listened to the third movement with a constant smile, it is so playful and happy, still with a depth.
    Lovely.

    Kjell

  8. #8

    Re: Balletto dell'Asino

    Of course the server is busy. With so much good music here, people are queuing to listen.

  9. #9

    Re: Balletto dell'Asino

    Jos,

    Your work is immaculate in every way.
    It flows so naturally that it can easily be mistaken
    for a real performance.

    Bravo!


    ~ Yudit ~

  10. #10

    Re: Balletto dell'Asino

    Hi Kjell and Yudit,

    Your comments are much appreciated.

    Kjell: Yes, I use the VSL libraries. It took me quite some time to master them and to get to know how to use which samples best under which circumstances. The performances lives or dies with the right choices. And that's not enough. You need to know how to manipulate every sample in order to make them live-like. They were recorded in a super clean studio, as dry as possible. No instrument ever plays that way. E.g. a single sustain is a long held tone without any variation (straight forward from begin till end). That is plainly ugly as a sound, unless you tweak it to bring it to life by adding some attack, a belly (movement in dynamics) and a release tail. That is most obvious with strings. And then there is the difference between up and down bows in sound..., the phrasing, the natural dynamics, the cloud (Velocity Crossfade).

    In short: the composition requires some time, but the midi performance always takes a lot longer.

    And yes, it would be hard for a live orchestra to play as perfect as the midi recording. But the challenge is to have it sound a little 'imperfect' with small irregularities and tiny 'mistakes'...

    Thanks for the listen!
    Jos
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

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