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TRACK 4

Lust introduces another unusual instrument of South American derivation. This is the
guiro, which sounds like the movement of a light stick over a saw-toothed gourd
surface - as indeed it is. The low pizzicato strings should have an odd ring, a result
of their being doubled by harp. Note the clarity and distinct separation of the variety
of rhythm instruments, which includes tambourine, maracas, and string bass as
well. Again in this selection, more than one position of the soloist relative to the rest
of the ensemble is apparent. With the addition of choir, conga drum, the heavy bass
drum, and the jazz-like brass figures, the complete range of sound covered should
be heard in even distribution. Just before the double-time section the soloist
performs with such violence that the threshold of distortion is nearly reached. The
raw realism of these vocal effects is truly startling. In their harshness they are
deceptively similar to distorted sounds. Much the same phenomenon is sometimes
observed when trombones are played with a sharp attack.

TRACK 5

The musical effect of Terror at the outset is more like the traditional "popular vocal,"
with its lush string background and simple harmonies. The lightness of the soloist's
voice in contrast with her preceding performances should be immediately evident.
Note the liquidity of the harp note shortly after the first series of rattles, and its long
and resonant overhang. There follows shortly a brief opportunity to observe
without instrumental interference the room tone, or "echo," around Bas Sheva's
voice. In the first paraphrase of the traditional "London Bridges," a distinct change
of solo voice placement may be heard as it moves from near-obscurity within the
orchestral sounds to a position of prominence. As the selection progresses past
the reiterated tympani notes into a frenzied orchestral portion, the echo of a short
theme by piccolos should be clear and bright despite the orchestral mass beneath
it. An excellent separation of the variety of orchestral movements should be
apparent in this section. The punctuation of the soloist's cries should be brilliant
and percussive, and the scream near the ending again presents an interesting
opportunity to observe the fine line distinguishing distortion from harsh vocal effects.

TRACK 6

In the selection Jealousy we again encounter a wide variety of rhythm instruments,
this time used in a Flamenco manner. Castanets, xylophone, and tambourine should
all be reproduced with a crisp "bite" without being excessively loud. Note the
percussive "edge" given the trumpets by the addition of xylophone, and the strange
sound of the choir in its first entrance: this is caused both by the low register of the
choir and by the fact that approximately half its members are humming. Here again is
an effect obtainable only through the specialized techniques of recording. The
cello-like accompanying quality of Bas Sheva's voice in the 3/4 string passage which
follows is also a unique result of microphone use, as is the sparing addition of choir
in full-voice, while the soloist emerges prominently

The crisp sounds of castanets and tambourine announce a resumption of double-time,
and the thud of bass drum accents to the rhythm should be heavy. Piccolo figures
may be heard above the full choir near the ending and should give a slight edge to this
section; and the selection ends with a complex but cleanly reproduced figure
performed by Latin American rhythm instruments backing the soloist.

TRACK 7

Joy, like the first part of Terror, resembles more than any of the other selections in The
Passions a popular recording insofar as the placement and relationship of vocalist to
orchestra is concerned. The listener will observe the different character of the musical
sounds encountered here, which resemble in some instances sounds familiar to us
through motion picture scores. An unusual quality in the string pizzicati is again
created by doubling with the harp. The brief use of violin harmonics in the end of the
first instrumental interlude should be clear and flutey, and the simple harp figures
accompanying the solo voice in a later section should have a liquid ring. Following this
section, if the playback system is well adjusted, a remarkable separation between the
percussive melodic line and the wind instrument accompaniment will be observed. The
resonant rhythm in the final section should be rich and clear, and the brilliant sound of
the bell in the last few bars should be true in pitch throughout its long overhang.

THE INSTRUMENTATION of The Passions is as follows: 2 clarinets (doubling piccolo,
flute, and alto flute. An additional clarinet was used on one recording session) ; 2
trumpets; 2 trombones; 1 French horn (an additional horn was used on one recording
session); 10 violins; 2 violas; 2 cellos; String bass; Harp; Piano (doubling celeste) ;
Percussion (snare, bass drum, tom toms, cymbals, wood blocks, triangle, tympani,
bells, vibraphone, xylophone, timbales, conga drum, bongos, guiro, tambourine,
castanets, cabaza, maracas and gong); Choir: three male, three female.

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