First Sample


Richard and I are so excited about how the music is taking shape that, instead of just sharing a simple audio export from the software, we have decided to put a little more effort into it and produce a short video using photos of the score and pictures in the public domain. “With a little help from my friends” Andrea De Martis and Fico Wiesse, we have been able to avoid using the old boring “ah” sound of my sample library and actually record a few vocal lines. To both of them, our deepest gratitude! Also to José Luis Madueño, for recording the voices at his studio. A little clarification, though: neither Andrea nor Fico are opera singers. They are both excellent composers and singers of popular music and have made their best effort to imitate an operatic timbre, so don’t judge them harshly if you think they didn’t get it right. It’s just a demo, after all, and it’s purpose is to give you a brief idea of the style of the music. And now that I talk about style, I have to say that this short sample has been made only with parts of the music of the first scene, so don’t think the whole opera will sound like this. In the future, I’ll be posting more samples (simple audio exports, this time) that will let you get a sense of how the rest of the music will develop. 

Now, the more musical guys may be wondering about the instrumentation, so here it goes: flute, clarinet, bassoon, horn, trumpet, percussion (1 player), keyboards (1 player, also) and a string quintet (with double bass). Why not oboe? Well, I simply made a choice, that’s all. I didn’t want to increase the number of musicians (as that would also increase the cost of production) and I wanted a partner for the horn. Usually, the horn in a woodwind quintet ends up somehow turning into a woodwind most of the time and can only stand out as a brass when playing solo, so I wanted a brass instrument with which I could pair it. Also, I felt that I would need the trumpet’s timbre. Call it premonition, if you like. To all oboe players, my sincere apologies.

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