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 […]
Self-portrait by Jerry Gerber A looming debate in the electronic music community has been, for some time now, whether one should stick to timbres that can only be produced by computers, software, and synthesizers or whether all sounds are fair game, particularly digital samples of acoustic instruments. The answer for me is quite clear: Both […]