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The Vienna Symphony (Vienna Symphony Orchestra, German: Wiener Symphoniker) is an Austrian orchestra based in Vienna. Its primary concert venue is the Vienna Konzerthaus. In Vienna, the orchestra also performs at the Musikverein and at the Theater an der Wien.
History[edit]
In 1900, Ferdinand Löwe founded the orchestra as the Wiener Concertverein (Vienna Concert Society). In 1913 it moved into the Konzerthaus, Vienna. In 1919 it merged with the Tonkünstler Orchestra. In 1933 it acquired its current name. Despite a lull in concert attendance after the introduction of radio during the 1920s, the orchestra survived until the invasion of Austria in 1938 and became incorporated into the German Culture Orchestras. As such, they were used for purposes of propaganda until, depleted by assignments to work in munitions factories, the orchestra closed down on September 1, 1944.
Their first post-war concert occurred on September 16, 1945, performing Gustav Mahler's Symphony No. 3. Under the direction of Josef Krips, they quickly rebuilt a modern repertoire after ten years of isolation, and travelled to the Bregenz Festival for the first time in the summer of 1946.
That year marked the beginning of the tenure of Herbert von Karajan who, though not principal conductor, worked with the orchestra in the 'Karajan Series' concerts, going on extensive tours throughout Europe and North America. In 1959. the orchestra performed for Pope John XXIII at Vatican City, leading up to the debut of Wolfgang Sawallisch.
Sawallisch's leadership saw a tour of the United States in 1964 as well as a combined U.S.-Japan tour in 1967. It also included the re-opening of the Theater an der Wien in 1962. Krips returned as artistic advisor in the interim between Sawallisch's departure and the arrival of Carlo Maria Giulini as principal conductor. In 1986, Georges Prêtre became principal guest conductor, and served until the arrival of Rafael Frühbeck de Burgos as principal conductor in 1991. Vladimir Fedoseyev became chief conductor in 1997 and served in the post until 2005. Prêtre and Sawallisch each held the title of Ehrendirigent (honorary conductor) of the orchestra until their respective deaths. Fabio Luisi was principal conductor from 2005 to 2013.[1][2]
In October 2011, Philippe Jordan was named the VSO's next chief conductor, effective with the 2014–2015 season,[3] with an initial contract of 5 years[4] In December 2016, the orchestra announced the extension of Jordan's contract as chief conductor through the 2020–2021 season.[5] The orchestra has begun its first CD commercial cycle of recording of the Beethoven symphonies with Jordan.[6] Jordan is scheduled to stand down as chief conductor of the orchestra at the close of the 2020–2021 season.[7]
Andrés Orozco-Estrada first guest-conducted the VSO in 2006. In March 2018, the VSO announced the appointment of Orozco-Estrada as its next chief conductor, effective with the 2021–2022 season, with an initial contract of 5 years. He is scheduled to take the title of chief conductor designate in the 2020–2021 season.[7]
Chief conductors[edit]
Wiener Konzerthaus
Other affiliated conductors[edit]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Vienna_Symphony&oldid=942893580'
Vienna Symphonic Orchestra Pro Torrent Mac Download 5,5/10 9498votesHi King, If you have the old Vienna Library, you'll need to use Kontakt 2 unless you have the EXS 24 version. If you want to create an EXS 24 version from your Kontakt files, you can use Redmatica's ProManager software and covert your library. It takes a little time but I think it's worth the effort, especially since you can convert the samples to a CAA version at about 20% of the bit space and quite frankly I have very difficult time telling the difference from the original versions.
You'll also find that the Redmatica software will keep your library well organized. If you haven't taken a look at VSL's Special Edition, you owe it to yourself to spend an hour or two watching their videos.Stack multiple instruments in a single instance of Vienna Instruments PRO 2, play them with polyphonic legato, and breathe even more life into the samples. Mac OS X 10.6 (latest update), Intel Core 2 Duo; 2 GB RAM (with MIRx: 4 GB RAM); ViennaKey (Vienna Symphonic Library USB protection device) or other USB.Things have come a LONG way since the original cube. Best Jim Feb 2, 2011 12:13 PM. I assume that Opus, just like the original full VSL Symphonic Cube, has a Performance section where Repetition, Legato and Alternate Strokes are handled. In the original Cube, this makes up for half of the entire library.
The problem is that the Performance Tool, which is an extension of EXS24, is not ported to 64bit by the VSL team, which means they consider those libraries as old and not supported anymore. So you can either use the Performance patches in 32bit or access enough RAM to make use of them in 64bit, but not both.I understand that they prefer to sell their libraries once more in a more modern package, but I on the other side am not prepared to throw this substantial investment and an unbroken library into the dustbin just to buy the same samples again in a new and improved interface. Truth be told, EXS24 in fact can access more than 4Gb RAM in 32bit, but other players you use at the same time will not. My personal strategy is to stay in 32bit until my current computer breaks and then convert the Performance patches to 64bit capable-Kontakt (there are scripts floating around which help in the conversion) and then move to 64bit on the next computer. Christian Feb 3, 2011 6:22 AM. Thanks a lot for your information, Christian, and it is very insightful.First, let me give me more information about my computer. I'm using an intel-based iMac.
It is 3.2 GHz intel core i3, and the memory is 8 GB 133MHz DDR3. Do you think it still can use my old VSL Opus? Yes, I think Opus is similar to Cube. Actually, at this moment, I'm still using Cubase SX3 to test if I can use VSL.
In fact, in my old PC, I just use Kontakt and VSL with SX3 to compose.In case I do switch to Logic Pro, I am just still doing the same thing. Therefore, I don't quite understand what you mean by 'use the Performance patches in 32 bit.' What are the Performance patches? I usually just choose the instrument from Kontakt and compose, so I don't have much concept about Performance patches.
Then when you say about 'access enough RAM to make use of them in 64bit,' as I said my iMac has only 8 GB RAM, is it enough? I'm very frustrated when I cannot use my so expensive VSL Opus on my new iMac. Please do help.Thanks in advance. King Feb 3, 2011 7:23 AM. King C wrote: Do you think it still can use my old VSL Opus?
This pretty much depends the player you use with it.With Kontakt, everything should be fine, I guess. With EXS24, the Performance Tool would only work if you stay in 32bit. What are the Performance patches? In EXS, and in GigaStudio too, there are a) plain Instruments which you can play as is and b) Performance Instruments which you use when you want to play Legato or Glissando or Repetitions.
They act differently, like, a Legato instrument will only work monophonically and any note overlaps will give you a true sample of playing from the first note to the next.This is essential for solo and melodies. The control logic which intercepts the keys you play and maps them so the correct sample is played is called Performance Tool, which adds this functionality to EXS24. Now, support of this Tool has ceased and thus there is no working Performance Tool in a 64bit Logic. The irony lies in the fact that Performance Instruments easily add up to more than 1000 samples each and thus would be the first to benefit from being in said 64bit environment. Then when you say about 'access enough RAM to make use of them in 64bit,' as I said my iMac has only 8 GB RAM, is it enough?
Whatever floats your boat is enough. There is a limit of RAM Logic itself can use in 32bit mode (I keep forgetting if it's either 1.7 or 2.7Gb) and this was a real showstopper when EXS24 and Atmosphere and other memory hungry instruments ate up exactly all of that faster than you could watch.As of now, most instruments have learned to allocate their memory outside of Logics RAM partition, so thats not a problem anymore. So, Logic will use, like, 2,7Gb, the OS will take, I dunno, 1Gb and the rest is available to instruments.
The more RAM you have while using such heavy instruments, the more you can postpone any Out Of Memory warnings. Christian Feb 3, 2011 11:04 AM. Apple Footer This site contains user submitted content, comments and opinions and is for informational purposes only.Apple may provide or recommend responses as a possible solution based on the information provided; every potential issue may involve several factors not detailed in the conversations captured in an electronic forum and Apple can therefore provide no guarantee as to the efficacy of any proposed solutions on the community forums. Apple disclaims any and all liability for the acts, omissions and conduct of any third parties in connection with or related to your use of the site. All postings and use of the content on this site are subject to the.Read the exclusive online supplement to this article: At the 2002 AES Convention, a new company called Vienna Symphonic Library (VSL) announced that it would soon release the largest, most versatile, and most realistic orchestral sample library ever attempted. With private funding and a seemingly unlimited budget, VSL had custom-built a state-of-the-art studio and recorded thousands of hours of samples played by world-class musicians from ensembles such as the Vienna Philharmonic and Vienna Radio Symphony Orchestras. Led by visionary Herb Tucmandl, VSL had begun editing, processing, programming, and assembling those samples into a massive collection of unprecedented proportions.
A few months later, VSL shipped the First Edition of the Complete Orchestral Package, followed by the Pro Edition in 2003 and many volumes in the Horizon Series in 2004. All of them supplied detailed 16-bit sample libraries for popular software samplers, and all but the First Edition are still available.In 2006, VSL began shipping all ten volumes in its gargantuan 24-bit Vienna Instruments library, known collectively as Symphonic Cube. Vienna Instruments is more than a sample library, however; it's also the name of the software instrument that serves as its graphical user interface. 1: Vienna Instruments' sample player runs standalone or as a plug-in.
Its well-designed interface offers plenty of real-time control over the library's 24-bit, 44.1 kHz sample content. Setting the Stage The ten boxed collections, which you may purchase separately, are Solo Strings, Chamber Strings, Orchestral Strings I and II, Harps, Woodwinds I and II, Brass I and II, and Percussion.
They vary in size, price, and number of installation DVDs.Each includes a CD-ROM for installing the Vienna Instruments software instrument, which runs standalone and as a plug-in for AU and VST hosts. To accommodate so much content, I bought a 500 GB Seagate hard drive and installed it in an external USB 2.0 enclosure. My computer was a dual-processor 2.3 GHz Apple Power Mac G5 with Mac OS X 10.4.8, 4 GB of RAM, and a 16x DVD drive.
Although I ran Vienna Instruments standalone and as a VST plug-in in Steinberg Cubase SX3 and as an AU plug-in in Apple Logic Pro 7.1, I spent most of my time working in MOTU Digital Performer 4.61. Before installation, you must download and install the latest version of Syncrosoft's License Control Center (LCC). Then you go to VSL's Web site to authorize your ViennaKey ($23), a Syncrosoft-compatible USB dongle.
2: Vienna Instruments' browser lets you select from an extensive list of Patches.Each instrument-specific Patch offers a single multisampled articulation or some other kind of variation. You begin installing each volume by running the Vienna Instruments Library Installer, inserting the first DVD, and waiting while the files are copied and decompressed; on my computer, it took about 50 minutes per disc. The installer will visually prompt you to insert the next DVD. In all, the 10 volumes furnish 29 installation DVDs, most of them double density. You cannot install only certain instruments; you must install the entire volume containing the instrument you need. Nor can you delete from disk any instruments or articulations you don't plan to use.
After installation, the total content added up to about 375 GB — much less than the 550 GB I had expected from VSL's specifications.According to the company, Vienna Instruments decompresses its 24-bit data every time you load an instrument into memory. It uses a proprietary technique with a 3:2 compression ratio, making 24-bit samples on disk the size of 16-bit samples. Because most users don't have a single hard drive large enough to hold the entire collection, you can distribute the sample libraries on several drives. In any case, you must initially run the included Directory Manager application to tell Vienna Instruments where to find its content. To authorize Vienna Instruments, you must register each volume on VSL's Web site and then paste the activation code you receive into Syncrosoft's LCC application before you can download a license to your ViennaKey.
Installing and authorizing the entire Symphonic Cube took more than two days for me to complete.Big, Bigger, Biggest Vienna Instruments is available in three editions: Standard, Extended, and Full. The Standard Library provides the articulations that are most useful for every instrument.
The Extended Library, an add-on to the Standard Library, gives you articulations that are more detailed and of greater variety, but few additional instruments. Together, those two editions make up the Full Library, the version that VSL authorized for my review.When you install any volume, you install its entire content, Standard and Extended.
After authorizing the Standard Library, you can use any volume's Extended Library for 30 days from the first time you open its Extended content. If you don't spring for the Extended Library at the end of 30 days, you can't delete the unusable data from your hard drive. I suspect that given the choice, most users would rather reinstall the entire Standard Library than keep hundreds of gigabytes of unusable data on their hard drives. Virtual Vienna In the center of Vienna Instruments' GUI is the Selector Ring; clicking on one of five buttons on its perimeter activates a function page (see Fig. The Right Workspace contains either the browser or controls for the current function page, and the Left Workspace displays detailed information about the current page. Near the bottom of the window is a keyboard flanked by Pitch and Volume knobs.Vienna Instruments arranges sample data in a 3-tier hierarchy of orchestral instruments and variations. Presets contain Matrices, and Matrices contain Patches.A Patch, the most basic level in the hierarchy, is a multisample of an instrument playing a single articulation or event.
It could be a solo violin played staccato, a bass clarinet trill, or a tubular bell hit. When you click on Vienna Instruments' Patch Assign button, the browser reveals an extensive list of Patches within folders (see Fig.
3: A Matrix arranges Cells in two dimensions, horizontally and vertically, and you use controllers to change Patches in either direction. The Matrix shown here lets you instantly switch between 12 Muted Trumpet articulations. The next level up in the hierarchy is a Matrix.A Matrix contains one or more Cells, and each Cell contains a Patch (see Fig. A Matrix loads a number of related articulations — such as legato, portato, and staccato — and allows you to quickly switch between them during real-time performance. Patches may contain other variations as well; a glockenspiel Matrix, for example, may offer single hits, rolls, or glissandos with a choice of wood or metal mallets. Each instrument comes with a variety of preconfigured Matrices, and you can easily create and save your own.
A Matrix also stores controller assignments for navigating between Cells in real time. You can instantly switch articulations by moving your mod wheel, changing Velocity, or playing faster or slower. Cells are arranged horizontally and vertically, and you can assign one controller to move horizontally and another to move vertically through the Matrix to instantly activate any Cell.Switching between Cells is how you change articulations, and thus control musical expression, in real time.
At the top of the hierarchy are Presets.A Preset contains as many as 12 Matrices arranged in a useful combination, which are selected using keyswitches. Most instruments have a Level 1 Preset and a Level 2 Preset. Generally, Level 1 Presets contain fewer variations; for instance, whereas Level 1 Presets for harp offer only major glissandos, Level 2 Presets also give you minor and diminished glissandos (see ). Level 1 Presets contain only data from the Standard Library; Level 2 Presets also contain data from the Extended Library.
Consequently, Level 2 Presets take longer to load, but they offer much more flexibility. Assume Control Clicking on the Control Edit button lets you assign controllers for switching between Cells in two directions (see Fig. You can also switch between two opposing articulations in the same Patch, such as crescendo and decrescendo or up and down arpeggios.Controllers can be keyswitches, the pitch wheel, Note On Velocity, playing speed, or any MIDI Control Change (CC) message. The Perform Control page provides sliders to control parameters such as attack and release, lowpass filter cutoff, and the depth of crossfading between Patches (see Fig. In addition, you can tweak the master tuning, enable or disable release samples, or instantly switch to the slowest Patch in a speed-controlled Matrix. A MIDI Learn function lets you easily assign any physical controller to an onscreen knob, button, or slider. Clicking on the Map Control button will display a page for assigning and editing controller assignments and defining their response curves.You can also right-click on an onscreen control and then move a hardware control to assign it.
By default, Pitch Bend has no effect. You'll probably want to assign your pitch bender to control the onscreen Pitch knob, but no matter what controller you choose, bends will be limited to a maximum whole step up or down. That's the range I usually assign for Pitch Bend, but if you're accustomed to a larger interval, you'll be disappointed.Also on the Perform Control page is the Sample Management section. Vienna Instruments' Sample Management scheme is a brilliantly conceived and elegantly implemented technique for conserving your computer's resources. When you click on the Sample Management section's Learn button and then play a track in your sequencer, Vienna Instruments will remember which samples were used in the sequence. If you then click on the Optimize button, the plug-in will delete any unused samples from memory. This procedure very effectively frees up memory that would otherwise be unnecessarily wasted.To reload the deleted samples, just click on the Reset button.
Frank Zappa complained that orchestral players were uncooperative and obstinate (admittedly, he gave them grounds to be that way). He would have loved Symphonic Cube. It does what you want it to without objection, no matter how outrageous your demands. It also excels at just about everything you'd normally want an orchestra to do, and although it will probably take you quite a while to master it completely, at least it can eventually be mastered — you can't say the same of a real orchestra, as Zappa would no doubt have attested.
Limited space prevents me from describing the sounds in much detail; suffice it to say that without exception, they are extremely good. The strings are impressively versatile, even providing Gypsy articulations and scale runs in the Extended Library (see ).The woodwinds are stunningly lifelike, with solo versions of 13 instruments and bassoon, clarinet, flute, and oboe trios (see ).
Brass instruments feature practically every articulation imaginable, as well as offbeat horns such as the cimbasso, Vienna horn, and Wagner tuba (see ). The percussion section delivers every instrument you'd expect and some you might not, from taiko drums and finger cymbals to lithophone and Peking opera gong (see ). Check out the complete contents on VSL's Web site. If you listen to enough symphonic music that you can distinguish one orchestra or conductor from another, Vienna Instruments won't fool you.
Even if you're only a casual classical-music buff, careful listening will reveal the sampled forgery if you suspect one.But for most audiences, under most circumstances, and in the hands of a skilled musician, Vienna Instruments will probably fool most of the people most of the time (see ). Without a doubt, it is possible to make wonderful music with Symphonic Cube, as proven by many fine recordings on VSL's Web site. The sampling quality is uniformly excellent, and Vienna Instruments sounds just as convincing as the state of the art allows. 5: On the Perform Control page, you can specify parameters such as filter cutoff and pitch-bend range, and you can delete any unused samples from RAM. The software instrument has some brilliant touches — such as the tremendous variety of techniques for switching articulations and the ability to automatically delete unused samples — and a few annoyances. Installation and authorization were tedious (see ), and whenever I loaded a Preset or Matrix, Vienna Instruments demanded to be the foremost window.Sequencing with Vienna Instruments has room for improvement.
The software instrument is not multitimbral, and it receives MIDI data in Omni mode only. That means you'll need to instantiate a new plug-in for every instrument or instrument group you want to record.
As long as you remember to delete the unused samples as soon as you finish every track, you can probably load dozens of instances without any resource-related problems (depending on your computer, of course).Nonetheless, I still wish it were multitimbral, because I'd rather not have to keep track of so many plug-ins. Using Vienna Instruments was frustrating at times, but ultimately the results were always worth the effort. The samples sound generally amazing, and once I had learned my way around, it was fairly easy to find just the articulation I needed at any given moment. However, you can't edit or remap the samples as you can with sampler-format orchestral libraries; that may or may not be important to you.
As with any virtual orchestra, there is plenty to learn before you can get the best performance from Vienna Instruments. Fortunately, VSL's documentation is top-notch. A 40-page printed manual comes with each volume, as well as a PDF version of the same manual and another PDF that details every Patch, Matrix, and Preset for every instrument in that volume — more than 1,300 PDF pages for the entire Symphonic Cube.Considering Vienna Instruments' cost, though, I'd have expected full paper manuals too.
You'll find a ton of knowledge that anyone can access on VSL's Web site, including very detailed information about individual orchestral instruments and orchestration. In addition, you can download 45 minutes' worth of helpful video clips. As Good as It Gets Vienna Instruments is groundbreaking, that's for sure.
The full-tilt Symphonic Cube has twice the content of any competing virtual orchestra, and it costs more than a Korg OASYS. Whether the cost is a problem depends on whether your alternative is to buy a less expensive sample library or to hire a real orchestra.If you can afford it, you won't regret your purchase. And if you own any previous VSL sample libraries, you may be entitled to a discount for any Extended or Full Library. Symphonic Cube is remarkably complete, furnishing practically every articulation and orchestral instrument you could ever want — hats off to Vienna Symphonic Library for such a monumental achievement. If you (or, better yet, your employer) can afford to join the exclusive club of Symphonic Cube users, you will come as close as possible to putting a living, breathing orchestra on your desktop. EM associate editor Geary Yelton lives in Charlotte, North Carolina. Championship Manager 2006 Full Version.
PRODUCT SUMMARY VIENNA SYMPHONIC LIBRARY Vienna Instruments Symphonic Cube 1.1 virtual orchestra Standard Library, $4,620 Extended Library, $6,370.
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