It is hard for me to read this month’s issue and its consideration of composers thinking big for large ensembles, without the back of my mind drifting to the well-publicized troubles of our symphony orchestras. Certainly, there is a bit of a tired refrain at work, and the latest foldings or cutbacks are nothing we […]
The Wire magazine’s UNDERCURRENTS, a series of articles which appeared monthly during 1999, is a great introduction to some of the important trends that have affected the trajectory of music over the past century.
Maria SchneiderPhoto by David Korchin I approach composing and orchestrating for big band in a way that might be considered unusual. Instead of delineating each section, I try to dissolve the obviousness of sections. I look at the band as a chamber group having limitless solo or combined possibilities. There’s far more than the obvious […]
Dave HollandPhoto by Laurence When I arrange for an ensemble, I think both about the instruments and the specific players. I might choose a certain instrumentation but then I think about the personal sound each musician makes and consider that when I am orchestrating. I also like to write to feature the style and sound […]
Meyer KupfermanPhoto by Howard Dratch On reflecting upon my approach to orchestration, I discovered that I had been doing lots of things exactly the same way from the very beginning of my long symphonic odyssey: choice of instruments for any given episode had to have a challenge of “absolute freshness!” As a result, I always […]
Steven GerberPhoto by Brian Palmer My approach to orchestration is traditional, in that while I don’t think of it as merely arranging pre-existing material, I also don’t think of color, of sheer orchestral sound, as primary. Most of the standard repertoire—even The Rite of Spring, in spite of its astounding use of orchestral color—sounds good […]