#the horns ? the strings ? the percussion ? every single PIECE of this orchestra of this chorus ?

[cianishere]

why richard robbins is a king among men, or an analysis of the maurice (1987) soundtrack

hello, i am gay, a former band kid, and a slut for classical music analysis…… so i’ve been wanting to do an in-depth analysis of Richard Robbins’ absolutely breathtaking soundtrack for Maurice (1987) for some time. it’s an incredibly emotionally moving work of art, but i also feel like there’s so much care and thought and soul put into the pieces of the soundtrack, and Robbins absolutely deserves all the credit in the world for writing the perfect accompaniment to the film. the songs have lives of their own, outside of the film, but they also breathe a certain life into the scenes when paired with the performances of the actors and the cinematography and camera work. the soundtrack means so much to me, so i wanted to take a moment (or a few thousand words or so) to expand on all of its intricacies. i’m not a professional musician or a music student, i’ve j been playing woodwinds for over a decade and can find my way around a guitar and piano, so these are my thoughts and interpretations as a musician. feel free to share yours! this was a bit of an undertaking, so i recommend reading while listening, and i hope u enjoy!

(the pieces are listed in order of their appearance in the film, not the album)

PROLOGUE - THE LESSON

The opening piece is a very traditional overture, setting the mood for the film and foreshadowing the (musical) events to come. It begins with a mysterious, almost eerie sound with pizzicato in the low strings and high woodwind and harp lines before opening into the dominating melody in the high strings. Though the melody is grand and moving, it also has an air of hesitancy, almost melancholy, and in this moment, we’re introduced to Maurice’s musical signature, the clarinet (specifically, the low clarinet line). The low clarinet triplets and the sets of five recurring notes in the low flute and violin create a sense of impatience and forward motion, as we can sense young Maurice’s uncertainty in his conversation with his headmaster. This section transitions into a solo in the English horn, which Robbins uses to represent the idyllic, pastoral English countryside. Here, it seems to signal both the natural surroundings that the scene takes place in, as well as the pastoral beauty of childlike innocence. This solo honestly gets me EVERY TIME, it’s so gorgeous and the gradual layering of other instruments underneath is mesmerizing. The piece ends with shrieking upward woodwind scales, capturing the sense of impending fear that we can sense in young Maurice.

AT THE PIANOLA

This piece is a bit strange to listen to outside of the film, as it plays in the scene as Clive and Maurice play Featherstonehaugh’s pianola in his Cambridge dorm room. The piece captures Clive and Maurice’s pianola playing, which echoes the thematic melody introduced in the opening composition, but the single piano line is quickly swept away by a traditional string orchestra before moving into a call-and-response between the high strings and high woodwinds. I always thought this piece was so beautiful in its development, growing from a simple piano melody into a fully orchestrated concerto. The melody, particularly in its piano form, always struck me as very French, reminiscent of the French Romantic pianists with some impressionist elements as well. The transition from piano melody into the full orchestra is welcome, but overwhelming—it evokes the excitement and intensity of falling in love, as the film reaches the precipice of Clive’s confession. The instrumentation is also fascinating here: as I mentioned previously, Maurice is musically represented by the clarinet and/or woodwind melodies, but Clive usually comes through as high strings. This piece is pushed forward by the strings, as the violin and viola take on the melody under the piano and are followed by the woodwinds. The woodwinds follow the strings in a call-and-response pattern, musically establishing Clive’s lead in their romance, with Maurice following along with his advances, especially at first.

MISERERE (GREGORIO ALLEGRI)

UGH I have so much to say about this piece. I want to start with its origins, which is a setting of Psalm 51 to music, at first for the exclusive use in the Sistine Chapel during Holy Week (a nod to this scene taking place in the spring, around Easter). We all know this piece and the scene it accompanies, as those shots of Cambridge (and that wicker chair) are forever immortalized in my heart (<333) The lyrics are incredibly significant, as Psalm 51 is a confession of sin by David—specifically, of his feelings of lust for Bathsheba.

Have mercy upon me, O God: after Thy great goodness. According to the multitude of Thy mercies, do away mine offences. Wash me thoroughly from my wickedness: and cleanse me from my sin. For I acknowledge my faults: and my sin is ever before me. Against Thee only have I sinned, and done this evil in thy sight: that Thou mightest be justified in Thy saying, and clear when Thou art judged.

David is asking for mercy for his act of sin, and to be “cleansed” from his lustful act by God.

Make me a clean heart, O God: and renew a right spirit within me. Cast me not away from Thy presence: and take not Thy Holy Spirit from me. O give me the comfort of Thy help again: and stablish me with Thy free Spirit.

He prays for God to return to his life, and to give him salvation again.

I think this choice of psalm is SO fascinating, as it can take on two meanings. On one hand, it represents the feelings of guilt that both Maurice and Clive feel for their attraction to each other, knowing that their feelings are considered to be sinful in their (and the societal) understanding of Christianity. In a way, this piece can signify both Clive and Maurice asking for that salvation and asking to be saved from their desire. On the other hand, however, I think the choice to overlay this particular piece with Maurice and Clive’s first moment of physical intimacy is critical in interpreting its meaning. Rather than asking for salvation from God, the psalm’s lyrics could also represent Maurice and Clive asking for salvation from each other through their desire. There are a few points in the psalm that could be read in a rather different light in this context, particularly “Thou shalt open my lips, O Lord: and my mouth shall shew [show] Thy praise.” The “high spirit” that they are searching for, in this case, is not the forgiveness of sin by God, but rather the intimacy and physical affection of a lover. (As Forster points out in a later section of the book, one’s God and one’s lover can be equal “incentives to virtue.”) I feel like this psalm is being used in both ways: as a reminder of the internal and external pressure that Maurice and Clive face, but also to musically express the reciprocal desire they are seeking from each other as they begin to explore the physical side of their relationship. This piece is also just so damn beautiful, the high C just gets me every fucking time. The specific vocal arrangement—and the excerpt of that arrangement—that Robbins decided to use highlights a solo female soprano, sounding almost like a Greek siren. As her voice emerges from the varying vocal textures, there is a sense of seductiveness, but there is also a loneliness there, as she stands alone among the choir. The choice to center the soloist was a beautiful way to show the loneliness that Maurice and Clive feel as they both continue to hold that fear and hesitancy about their feelings and desire.

THE CAFE ROYAL

This piece plays during the infamous “to the ladies!” scene, during which the Halls and the Durhams are dining together, and Clive announces his decision to become a barrister and enter politics. This piece begins as a classic, grandiose waltz, representing the glamor and high society lifestyle that the two wealthy families live within. At the beginning especially, it seems almost overstated, hinting at the façade of British upper-class life that Maurice desperately despises. As the piece continues, a duet of low clarinet and oboe emerge with a woeful melody that is built upon on its repetition by a dark solo cello line. (I don’t play double reeds or cello but they’re two of my favorites, and all I can say is that Richard Robbins knew how to pick instruments that fuck, plain and simple.) The contrast in mood created between this grand waltz sound and the individual instruments emphasizes the trapped, isolated feeling that both Maurice and Clive feel as upper-class British men, expected to have careers, marry, and build families. Stuck in the middle of their constructed lives, Maurice and Clive are represented by the duet and solo lines, standing out among society and desperate for an escape.

IN GREECE / THE WEDDING

This piece opens with a haunting melody that sounds almost like a chorus—I’m still not entirely sure what the instrumentation of this section is, but it sounds like high woodwinds and strings layered together and/or an echoey, chime-like percussion instrument. The lone melodic line overlaid with harp runs (again, Robbins said I will exclusively highlight instruments that fuck hard, and ignore everything else) in the beginning brings the same sort of haunting loneliness as in “Miserere,” evoking the duality of the Greek siren as well as the hymnal church choir. Gradually, the piece builds into a waltz through the development of a pizzicato bass line as well as running woodwind and string harmonic lines. I think the use of a waltz in this section of the piece is a symbol of the bitter end of Maurice and Clive’s relationship, as the minor key and legato melody in the high woodwinds gives the waltz a mournful quality.

The opening section of the piece is quickly interrupted by the abrupt and angry sound of an organ. Rather than romantic, this interlude is loud and overwhelming, representing Clive’s overzealous transition into heterosexual marriage and family life. The interlude then transitions into a beautiful but incredibly sad melody, reminiscent of the music that might accompany a funeral service. This short but emotive section is probably one of my favorites in the entire soundtrack—as it plays, we can see Maurice exiting the wedding chapel after Clive and Anne, and that hidden pain and fear and loneliness is brought to life by this melody.

PENDERSLEIGH IN GLOOM

Simultaneously romantic and melancholy, this short piano interlude demonstrates the inspiration that Robbins took from classical French pianists. This composition reminds me of a transition section within a Debussy piece as the uneven tempo and dynamics exude emotion, conflict, and hesitation. In this moment in the narrative, between Clive’s marriage and Maurice’s meeting of Alec, Maurice is in a state of contemplation and uncertainty, and Robbins has reflected that perfectly.

MISS EDNA MAY’S SURPRISE / THE TRAIN

Though this piece is definitely not the most sonically appealing, I think it is the most texturally interesting on the soundtrack. The piano melody in “Miss Edna Mae’s Surprise” begins as a playful, jaunty, idyllic piece, but quickly builds drama and transitions into the surreal and eerie. The melody wavers between fun and nightmarish, never fully settling into one, but establishing tension through the contrast between the two. As the piece builds layers of woodwinds and strings, it continues this contrast between the expected, playful melody and something more sinister before suddenly merging into a screeching, forceful ending with high woodwinds and piano. Similar to “The Café Royal,” this piece represents the internal conflict that Maurice faces and his fear of settling down into the heterosexual family structure. While there is a sense of joy and happiness on the surface level, as Maurice acts the part to uphold societal norms, internally he is incredibly afraid of being trapped in a cycle of marriage and family that would be unfulfilling and dishonest to his selfhood.

The next section of this piece, “The Train,” is one of the most creative compositions I’ve heard in a long time, and I was honestly blown away when I listened to it closely (and LOUDLY). Rather than using train sound effects, Robbins uses the sounds of the orchestra to emulate the different sounds one might hear on a steam engine train. The rhythmic beat of the railway tracks underneath the train car are created by repetitive staccato notes in the strings and percussion. The airy, legato sound of the steam engine is actually created by single reed woodwind instruments played in a particular way. The woodwind players are blowing air into their instruments with a very loose embouchure, which is the muscle tension created by the lips around the mouthpiece that forces the wooden reed to vibrate and create sound. By loosening their embouchure, the players are blowing air into their instruments without the reed vibrating, resulting in a sound resembling air or stream escaping from engine pipes (can u tell im a clarinet player :-)). The melody of this piece emerges in the high woodwinds, including upper clarinets, flutes, and oboe. The melody line is eerie and tense, much like the mood of the train scene in the film, and the blended lines are erratic and dissonant. They seem to echo and fade in strange ways, mimicking the sound of an approaching or departing train whistle. Robbins is able to capture the sounds of a steam engine locomotive while also establishing the tension and conflict in Maurice’s character in this scene. As a woodwind player, I am in complete awe at Robbins’ creativity in building this composition, and I honestly think his ability to layer these sounds to create such a complex, textured sonic landscape is nothing short of genius.

THE MOONLIT NIGHT (a tiny bit nsfw, feel free to skip!)

Maurice’s nightmare of the “sinking ship” of heterosexuality is brought to life through an eerie, isolated English horn solo over tense string chords, eventually transitioning into a low clarinet melody, Maurice’s musical signature. Slowly, as Maurice’s nightmare fades away and he wakes up from his sleep, the low clarinet melody diminishes and is overtaken by low, warm chords in the lower woodwinds (bass clarinet, my beloved <3). These low sounds are interrupted by hesitant but curious flute runs, through which Robbins introduces Alec’s musical manifestation. The flute sounds grow faster in tempo and more intense in sound as Alec watches Maurice from outside his room but reduce to a single line of low strings, woodwinds, and percussion as he climbs through Maurice’s window. This ominous and minimal sound is gradually layered with sudden high strings, led by Maurice’s low clarinet, before fading away into near silence until the first touch suddenly takes the piece into swift motion. It develops into a beautiful and intricate waltz as Maurice and Alec embrace, representing their intimacy through the style of a partnered ballroom dance. The melody of the waltz, layered over staccato strings, is an ascending, fluttering scale that begins in the clarinet before finishing in the flute. Robbins’ choice to compose the melody as a shared scale between Maurice and Alec’s respective instrumental representation is a perfect way to express their first night together, and the airy, light, understated flute is a brilliant way to embody the spirit of Alec’s character. In the final section of the piece, as the melody grows irregular and begins to fade away, the ascending lines and rhythmic pizzicato strings begin to mirror the gasping breaths and soft moans of intimacy, constructing a gorgeously imaginative musical landscape for this critical scene.

ALEC’S FAREWELL

This short but expressive piece captures Maurice’s transition from dejected acceptance of Alec’s departure to a tentative hope as he realizes that Alec has missed his boat to Buenos Aires. Plucked bass and a fragmentary string melody overlay a tense, oscillating clarinet line, representing Maurice’s internal anticipation as he anxiously fidgets in the taxi ride back to Pendersleigh. At this point, Maurice does not have confirmation that Alec has purposefully missed his boat to reunite with him, but the suspense created by Robbins’ minimalistic composition leaves room for such a possibility, without completely revealing its certainty.

THE BOATHOUSE

This piece begins as Maurice makes his way towards the boathouse on the evening of Alec’s expected departure. He has just spoken to Clive, confessing his love for Alec, and now hopes to be reunited with his lover in the boathouse, the safe haven that Alec had promised Maurice after their first night together. Continuing where “Alec’s Farewell” left off with an oscillating clarinet line and minimal strings, the piece quickly erupts into motion as a solo clarinet begins a low triplet melody, accompanied by strings and a solo oboe harmony (the clarinet line is fucking FIRE and I would pay so much goddamn money for the sheet music). The clarinet solo moves swiftly, desperately, shifting between major and minor keys to represent Maurice’s restless search for Alec. As he enters the boathouse, the clarinet ascends a scale before lingering on a high A, as if he is calling for Alec. When the call is not answered, the clarinet line repeats, bringing Maurice’s anticipation to its height until he opens a second door and finds Alec resting within the room behind it. As the two meet and share a moment of reconciliation (“So, you got the wire, then?”), a lingering bass note (another one of Alec’s musical representations) swells into serene, legato woodwind chords that echo until their final kiss, and Alec’s “Now we shan’t ever be parted, and that’s finished.”

While listening to this song more closely, I was completely struck by its similarities to Leonard Bernstein’s “Somewhere” from the 1957 musical West Side Story. The final chords in “The Boathouse” are strikingly similar to the final high woodwind chords echoed by a low bass line in “Somewhere.” Bernstein also highlights clarinets throughout the musical, particularly to emphasize the vocals of the protagonist, Tony, while using flutes to underscore the voice of María, Tony’s love interest. Aside from the musical similarities, I think the thematic parallels between the story of Tony and María are worth mentioning as a source of musical inspiration for Robbins. A retelling of Romeo and Juliet set in 1950s New York, Bernstein’s West Side Story is a classic tragedy of an unconventional relationship that is unaccepted by society. Although not sharing in its tragic ending, Maurice definitely builds on the cultural trope of two star-crossed lovers desperate for an escape from a prejudiced society. Bernstein himself was gay, although he spent much of his career closeted, and West Side Story (particularly “Somewhere,” but also “One Hand, One Heart,” “Tonight,” and “Finale”) became emblematic of the struggles that gay couples face, especially with the popularity of musical theatre among American gay men. The lyrics (copied below, but I highly recommend finding the 1957 ballet version or the 1961 film version!) represent Maurice and Alec’s story beautifully, and the fact that Robbins was inspired by this piece of media that holds so much significance for queer people when composing the soundtrack for Maurice makes my gay little heart grow three sizes <3

There's a place for us, Somewhere a place for us. Peace and quiet and open air Wait for us, somewhere.

There's a time for us, Some day a time for us, Time together with time spare, Time to learn, time to care. Some day, Somewhere, We'll find a new way of living, We'll find a way of forgiving. Somewhere, Somewhere . . . There's a place for us, A time and place for us. Hold my hand and we're halfway there. Hold my hand and I'll take you there Somehow, Some day, Somewhere!

CLIVE AND ANNE

For Clive’s final scene, Robbins returns to piano and string instrumentation in the melody, representing a return to the traditional life that Clive now finds himself living with Anne. This variation on Clive’s signature melody, however, is significantly slowed down, almost to the tempo of a funeral march or dirge. As he shuts each of the windows, eventually stopping for a brief moment to reminisce on his time with Maurice, the melody grows increasingly loud and desperate as the high woodwinds are layered in. The sudden and dramatic development of this piece sound like a futile cry out for help, as Clive remains trapped in a prison of his own creation. The composition ends without a concluding chord, tense and unresolved. It’s fascinating to me that we can hear Robbins’ simultaneous resentment and pity for Clive—though the piece is deeply sorrowful, Robbins does not leave Clive with a satisfying ending, choosing to keep him suspended in the societal purgatory that he chose for himself. 

END TITLES

Are you crying yet? No? I don’t believe you. Robbins establishes the ending to the story by building the piece off of a gentle, pastoral variation of Maurice’s low clarinet melody. The legato chords and balance of high and low instrumentation recall Robbins’ musical sampling of “Somewhere” before the melody shifts into a call-and-answer duet between the clarinet (alongside an oboe) and flute. Much like the clarinet and flute duet in “The Moonlit Night,” the two lines blend together—but in this final composition, Robbins has written the two parts as complementary, yet distinctly different, rather than imitations of one another or two segments of a single line. The melody becomes a conversation between two harmonizing entities who are sharing in the creation of something wholly new. The duet tapers off into an English horn solo over a harp line, bringing back the idyllic English countryside that we first saw young Maurice exploring in “Prologue – The Lesson.” In this final piece, Robbins adds on to this solo with the clarinet and flute before the melody spreads throughout the full orchestra and builds to a grandiose and rousing finale. I think the English horn solo is the part that breaks me every time because of its introduction in the very beginning of the story— through this understated melody, Robbins is assuring us that Maurice did stay true to himself, and he did find his happiness, though it may not be what Ducie or anyone else wanted for him. Maurice and Alec in the clarinet and flute, alongside the English horn, managed to find harmony in each other and peace in a life built on a love they shared, and nothing more.

[alivingroomatthebottomofalake]

20 tracks to help celebrate International Women’s Day 2019!

Here is a top 20 type list of music by the women who have inspired me to not only love and make music, but to be a better fucking person in the world. It is in no way exhaustive, but I wanted to share some favourite pieces of music from inspirational women.

Happy International Women's Day. Keep shaking the tree.

Bjork: Who Is It? Bjork has just always been my go to when people ask, "who is your favourite musician?" I can't really think of anyone more influential on me, from how I hear music, to how I compose, how I think about the world. So what better song to kick off this list than one asking the very same question?

Who Is It? It is you Bjork. Always you.

https://www.youtube.com/watch?v=ppXfsX9ph7k

YoshimiO: Oizumio (OOIOO) From Boredoms to OOIOO, OLaibi, and more. Whether on drums, or guitar or vocals or trumpet or whatever madness she tries her hand at, the music is always phenomenal. This track is taken from the all female band OOIOO's second album Feather Float.

https://www.youtube.com/watch?v=mQcDd5kCGSk

Braids: Lemonade Canadian group Braids have changed a lot over the years, but this is when they were at their best (sorry, but that's just how I feel eh). Such effortlessness in the way the songs connect and flow, it's a true wonder. Yet the lyrics are hard and fierce. This album, "Native Speaker" is one of my all time favourite albums to just chill out with. And this is how it opens.

https://www.youtube.com/watch?v=kwPZmcgUBJM

Melt Banana: Circle Jack (Chase the magic words, Lego Lego) When I first heard this band my head exploded. It still does. This song was the first thing I heard by the band. I can't believe the way this woman maintains such an energy from song to song. It's fucking brutal. This song is from the album Charlie, which for me is still the best one.

https://www.youtube.com/watch?v=QKmyeH0nA6Q

Amiina: Crocodile Starting life as a string group but quickly expanding into a lush cinematic ensemble of various timbres and possibilities, Amiina are one of my favourite ever live performances, opening for Sigur Ros (and stealing the show with their amazing and entertaining personalities). This track is from the album Fantomas, an interesting record where the group scored a soundtrack to the old school silent movie of the same name.

https://www.youtube.com/watch?v=1N8qw8Mr4TE

Eliane Radigue: Islas resonantes No one comes close to touching on the infinitesimal the way that Eliane Radigue does. Her work is a true extension of time and space, a hypnotic exploration of patience and true extended listening. She was also a pioneer of synthesis, and pretty much single-handedly created the drone genre. Many of her works are enormous in duration, and thus here is one favourite in part.

https://www.youtube.com/watch?v=1RrsiGmLp_E

Emel: Ensen Dhaif Tunisian singer Emel blew my mind when I saw her live at MOFO last year. I had already fallen for this album, but live… What a fucking voice. Such a presence on stage too. The most humble spirit, and such a unique voice in popular music right now. I have no idea about her lyrics, but it still moves me.

https://www.youtube.com/watch?v=TXv5ByGSsbA

Evelyn Glennie. I wanted to put a track from Glennie's improvised album "Shadow behind the Iron Sun on the list, but couldn't find an easy link. So instead, enjoy this performance video. Glennie is deaf, and has been most of her career, but that hasn't stopped her from being one of the most formidable voices in the world of percussion music. The aforementioned album is a masterpiece, and she is an inspiring educator as well as performer.

https://www.youtube.com/watch?v=uw05QRdBiis

Fatima Al Qadiri: Dragon Tattoo Al Qadiri's music is so much more than just fun, but it manages to make you think at the same time as funk out. Her production is fresh and her minimal layers and messed up approach to beat scattering is amazing. This album is probably my favourite and this song is super infectious. Definitely a high point in recent electronic music for me.

https://www.youtube.com/watch?v=nmSDgtolWKI

FKA Twigs: Give Up. LP1 by FKA Twigs is an emotional ride for me. And it's made even better by the clever twists on pop sounds and formulae that FKA Twigs plays around with. There's heaps of artistry in here, but also heaps of feeling. This song in particular just made me break down every time the chorus kicked in, and still kind of does.

https://www.youtube.com/watch?v=YO7k_n5379I

IKI: Archaea Scandinavian vocal group IKI are a pretty special thing. All 5 singers are amazing in their own right, but they're also really experimental and adventurous, a character that is missing in a lot of vocal only groups. They also all have a unique sound and unique approach to electronic manipulations, which keeps the flavours interesting from moment to moment/track to track. Also, not to single any of them out, but I met Johanna Sulkunen and she is a really generous soul with lots of great ideas about music. This song is from Oracle, their most recent album

https://www.youtube.com/watch?v=uuB9OHJTh50

Kaitlyn Aurelia Smith: Existence in the Unfurling One of the biggest names in synthesiser music right now, Kaitlyn Aurelia Smith is doing amazing things with old school and new school systems, making some of the most lush, rich, and unique sounding music that mixes the 70s era flavours with a more NOW character. EARS was the album that I first heard, and since saw her perform live. Such a great performer, and she was also a really nice person, who enjoyed a good chat about gear. So that;s also nice. This track is the closer from EARS.

https://www.youtube.com/watch?v=gerjJPKPfSw

Maja Ratkje: Vacuum Ratkje's voice is amazing and super versatile, she is also a diverse and super accomplished composer and improvisor. She performs with and in many amazing groups, including Phantom Orchid Orchestra (with Zeena Parkins, Ikue Mori, Shayna Dunkelman and others). This song was my introduction to her work, I first heard it when I was working on a piece with dancer Susan Van Den Ham back in the day. Life changed. The album this is from is called "Voice" and it's entirely Rakje exploring vocal and microphone techniques. Enjoy.

https://www.youtube.com/watch?v=8XB8fB3QAQs

Phantom Orchid Orchestra: Red Blue and Green An all star ensemble starring Ikue Mori – electronics, Zeena Parkins – electric and acoustic harps, synths, omnichord, objects, Sara Parkins – violin, Maggie Parkins – cello, Shayna Dunkelman – percussion, Maja Soveig Kjelstrup Ratkje – voice and electronics, and Hild Sofie Tafjord – French horn and electronics. Insane and dense contemporary compositions from some of the best musicians alive today.

https://www.youtube.com/watch?v=MKgF9tBcyss

Nat Grant: Momentum Nat will go down in history with names like Oliveros and Radigue, as a pioneer of contemporary sound practice. As a drummer and percussionist, she is a virtuoso, and as a sound artist she is one of the most dedicated and adventurous listeners/sounders around. Her momentum project shows her extreme dedication to the field of sound. An ongoing practice based project, it is worth starting at the beginning and following it as she continues it. It's one of the best things that has ever happened in music.

https://natgrantmusic.bandcamp.com/album/momentum-box-set

Pauline Oliveros: A Woman Sees How the World Goes With No Eyes There is possibly no one more important in the world of sound than Pauline Oliveros. Her theories of deep listening have shaped the field of sound art and contemporary music practice so strongly. Her works are diverse, from accordion improvisations to tape experiments and more. This piece is a stand out for me, and considering how much work there is to go through, acts as a beautiful starting point for further exploration.

https://www.youtube.com/watch?v=hydO1JjMlno

Sarah Davachi: ghosts and all Davachi's work explores stasis and drone, but is also so much more than that. Whether working with synths or acoustic instruments, her music is delves deep into the sonosphere, and invites the listener to really commit to the joyous act lot deep listening. This piece is from the album Vergers, an album made entirely with the EMS VCS3.

https://www.youtube.com/watch?v=i9V3TT4IpAE

Suzanne Ciani: Concert At WBAI Free Music Store Analogue synth maestro Suzanne Ciani is another one of those artists who totally defined their field, in this case the field of electronic/synthesiser music. The works that she created for the Buchla system are seminal. Her work spans decades and she has always been at the forefront of her field. This particular piece was recorded live in 1975.

https://www.youtube.com/watch?v=qCfRqIqnSNY

Yuka Honda: Hydroshpere A bad ass composer/producer and keyboard player, Yuka Honda has several amazing solo records to her name, as well as being one half of the incredible experimental pop duo Cibo Matto. More recently she also produced an opera. She is an amazing artist and prolific too. This track is from her 2010 album heart Chamber Phantoms, an album that blends mad jazz vibes with ambient around pieces.

https://www.youtube.com/watch?v=1dnWu4Okhfc

[trakloading257]

Dsk Overture Vst Free Download

Dsk Vsts

Dsk Overture Free Download

Dsk Overture Vst Free Download Windows 7

DSK Overture, Free Synth plugin, Download DSK Overture plugin, Free DSK Music vst plugins. DSK Overture - Classic Orchestra Vst Plugin: Price: Free: Classic orchestra instruments - 4 layer (40 instruments, 1 drum kit, 10 internal combos) - Amp. Envelope - Midi channel selector - Panorama control - Level, gain and mute control - Advanced multimode filter (HP, LP, BP1, BP2, notch) - Filter amp. Envelope - Fx (Reverb, Delay & Chorus. DSK Overture Free VST Plugin Download. Posted by by Shryansh Bisen 1 Min Read. DSK Overture Free VST Plugin Download siachenstudios.com.

Last Updated on December 15, 2020.

What better way to add some embellishments to your songs than with an orchestral plugin? Even better if its free, right?

Orchestral samples, and samples in general, have come a long way.

They were practically unusable back in the day, but now, even though you can hear the difference between a sample software and the real deal, they sound astoundingly similar.

I love finding free software that actually works, so in this post I will go into each of the ones I found and tried, this way you won’t have to do any of the research and try the ones that sucked, like I did!

All of the download links are included!

The Best Orchestral Plugins are:

Best Free Full Orchestra VSTs

While every single one on this list is a good plugin overall, there are two which stand out.

Layers by Orchestral Tools

Layers is an ultra realistic orchestral sample library that features a full orchestra, Brass-, Woodwinds-, and Strings sections.

You can choose between a couple different mic positions and it also features different articulations; different chord types, staccato and sustain unison, and more.

In total, the sample pack is about 17GB and runs on Windows 10 and Mac OS.

Lastly, Layers works with Orchestral Tools’ SINE Player.

You can download Layers here.

Total Composure Orchestra (Windows, Mac, Linux)

Total Composure Orchestra is a full orchestral sample library created using only samples in the public domain.

Total Composure is the first to offer such a library exclusively for the Kontakt format; making use of Kontakt’s scripting capabilities to greatly enhance the playability, realism, and functionality of these public domain samples.

This is a fantastic plugin, it comes with a huge array of instruments from pianos, to brass instruments, strings and percussion.

One bad thing about this plugin is that it runs both on Kontakt Player, which is free, and the full version of Kontakt, but on Kontakt player you can only use the samples for about 30 min before it stops working.

If you want to be able to use them to their fullest extent, you will need to purchase Kontakt.

You can download Total Composure Orchestra here.

Related: List of the best Choir VST Plugins available.

Spitfire LABS

I mentioned Spitfire in a couple of my posts simply because they have some of my top recommendations as far as free plugins go.

LABS is basically a collection of free VST and AU plugins that not only sound fantastic, but that is also being updated consistently, with new plugins being added over time.

Here you will find great-sounding samples of any orchestral instrument you can think of.

You can download LABS here.

The Free Orchestra by Project Sam

Project Sam is behind Symphobia, which is one of the best-rated libraries for film scoring, video games and TV, and they created the Free Orchestra library which contains bits and pieces of all of their paid products.

What struck me the most about this free library is how great it sounds as soon as you load it up; there is little to no tweaking required.

Now, it runs on KONTAKT (6.2. or higher), but luckily it works in the free version which can be beneficial to you if you’re interested in using KONTAKT but don’t want to purchase the premium version just yet.

Parameters such as envelope controls, effects, octaver, and reverse make this library very versatile to use.

All in all, if you’re a beginner tipping their toes into the whole orchestral world, this entry level library could just be what you need.

You can download the Free Orchestra here.

DSK Overture Orchestra (Windows)

DSK Overture is a full orchestral sample VST plugin.

It gives you the ability to choose between 40 different instruments and play 4 of those instruments in the same instance, through MIDI.

The included instruments are; Acoustic Piano, Harpsichord, Bassoon, Celesta, Glockenspiel, Vibes, Harp, Flute, Piccolo, English Horns, Oboe, Clarinet, French Horn, Trumpet, Church Organ, Trombone, Tuba, Cello, Contra Bass, Viola, Violin, Orchestra Drum Kit, Full Sections.

Honestly, what makes this plugin great is the variety of instruments, since there is no shortage of them, plus they all sound pretty damn good!

You can download DSK Overture here.

BBC Symphony Orchestra Discover by Spitfire Audio

Here’s another great addition by Spitfire.

The BBC Symphonic Orchestra Discover actually sells for $49, but you can fill out a form and they will send it to you after 14 days for completely free.

This library is clearly aimed at beginners since it is very simple to use and straight-forward, plus it already comes premixed into one mix signal which gives you less control over it, but makes things easier if you’re just starting out.

It features a total of 33 instruments and 47 techniques, and thanks to Spitfire’s new mode switching technology, you can share and collaborate with fellow composers, regardless of which edition they own.

You can download the BBC Symphonic Orchestra here.

If you’re also Interested in finding the best sounding Free Drum Vst Plugins, then read this article I wrote about the ones I think are absolutely fantastic.

One Track Orchestra (Windows)

One Track orchestra is primarily a sketching tool, meant to be used for songwriting and recording demos and aimed mostly at beginners and songwriters who need a simple tool to create and record music.

Therefore, the sound quality and usability aren’t the best ones out there.

Dsk Vsts

The plugin was created using samples from VSCO Community Edition and assembled with Maize Sampler.

It is available as 32-bit & 64-bit VST plugin for Windows.

You can download One Track Orchestra Here.

Related: I love free plugins, so I put together a list of the best Free Synth VST Plugins out there which you can check out here,

Sonatina Symphonic Orchestra (Windows)

The Sonatina Symphonic Orchestra Module contains the full SSO by Mattias Westlund, in one simple VST plugin (32 & 64bit)

The SSO samples are stereo, 16 bit, 44kHz.

While it’s not the most professional Orchestral Sample Plugin out there, it will certainly provide the building blocks for creating some astounding virtual orchestra sounds.

Melodic instruments and chromatic percussion are sampled in minor 3rds and all samples have varying amounts of stage ambience, depending on their front-to-back placement.

SSO is the one plugin on this list that provides the highest number of instruments.

You get loads of String instruments, Brass instruments, Woodwind instruments, Keys and Choirs, Chromatic Percussion and Regular Percussion.

You can download it here.

DSK Virtuoso (Windows)

DSK Virtuoso allows you to play a combination of 6 layer instruments, or to play a composition up to 6 different parts, through the MIDI channels selectors.

The included instruments are;

Acoustic Piano, Harpsichord, Church Organ, Celesta, Glockenspiel, Vibes, Harp, Flute, Piccolo, English Horns, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Tuba, Cello, ContraBass, Viola, Violin, Orchestra Drum Kit, and more.

You can download DKS Virtuoso here.

You may also be interested in trying out some Free Bass Amp VST Plugins which should help you achieve a better sounding mix!

VSCO2 – Chamber Orchestra 2 (Windows, Mac)

The Community Edition, which is the free edition of these samples, comes with a total of 19 instruments, ranging from Woodwinds to Brass, Keys, Mallets, Strings and Percussion.

Decades of work have gone into creating these samples using nothing but the best equipment to capture them.

You can download the VSCO2 library here.

Learn how to Produce music

If you want to learn how to produce music at home the right way and without making too many mistakes, then I’d recommend that you read these posts;

Conclusion

The reason I like these kinds of plugins so much is that you can create complete song just by using virtual instruments.

You will need a good MIDI controller to do this properly and fast, even though you can manually add in every note in your DAW.

I hope this information was useful!

See you on the next one.

Ethnic | Classic | Guitar

chorus, Classic, Delay, Filters, harp, orchestra, Reverb, Woodwind

DSK Overture is free rompler plug-in for Windows featuring classic orchestra instruments.

Dsk Overture Free Download

With DSK Overture you can play full 4 layer sounds, or 4 differents instruments in the same instance (through midi channel selector).

DSK OVERTURE FEATURES

Dsk Overture Vst Free Download Windows 7

DSK Overture is available to download as a freeware VST instrument plug-in for Windows.

Visit: DSK Music