This page contains just some of the examples of the multi-microphone recording of the rehearsal, which was realized with more than 50 microphones used in a combination of close microphone pick-up and ambient recording.
For each subject, there is an Overview section which has the final mix of the orchestra, the tonmeister’s balance between all mics. Each following Excerpt section has example recordings from the various micrcophone arrays, as well as the final mix for each of the studies.
Subject 2: MOV. I, bars 305-309: How a poetic demand from the conductor can change the orchestra’s playing
Subject 3: MOV. I, bars 305-313: Hyper-romantic counterpoint, a study of orchestration strata
Subject 4: MOV. I, bars 89-97: The perception of individual violins or of a section of violins
Subject 5: MOV. I, bars 170-185: Counterpoint and orchestration as a way to enhance energy
Subject 6: MOV. I, bars 284-304: Hyper-romantic counterpoint and the building of a climax
Subject 8: MOV. III, bars 330 to the end: percussions study (G.C. and Tim.)
Subject 9: MOV. III, bars 196-256: Contrast between pointillistic motives and linear horizontal ascending energy lines
Subject 10: MOV. III, bars 221-229: Alternating sections between strings and woodwinds
Subject 11: MOV. IV, bars 19-23: Composite violin line (only violins)