Anna Maria of Prussia (1836-1918) – Flute Sonata in F major (). Accessed on 12/06/2023 from: https://youtu.be/F5QfFy5rCgQ
This is a Sonata in F major for solo flute and harpsichord. The sonata form seems composed of three sections, Adagio, Allegretto and Allegro ma non troppo. The flute has the primary role in the work, while the harpsichord functionality provides support as basso continuo, an indicative element of the baroque stylistic orchestration. Other baroque-style elements are present, like rich ornamental melodies. The flute has some virtuoso passages that portray the composition’s difficulty and ingenuity. The coherence of the work is set in tonal functionality as per the period of composition. The excitement is constantly set by the accents and dynamics. The construction of motifs, phrases and sentences is exquisite, with outstanding charisma, and greatly appreciated. In addition to listening to the techniques of composition, instrumentation and analysis, the history of Anna Maria was fascinating. It appears that the princess’s passion for music took her to learn secretly from his younger brother, as women were not allowed to take formal education in music at the time. This determination provides motivation and drive to follow anyone’s dreams in life and music career.
Reference:
Raine-Wright, A. Insusion Baroque. Anna Amalia. Accessed on 13/08/2023 from: https://www.infusionbaroque.com/anna-amalia-en-914903-628327-999245.html
Darcy James (1968-) – Brooklyn Babylon (2011). Accessed on 10/06/2023 from: https://youtu.be/NMWqllG3Tkk
This composition by Darcy James, designed for an 18-instrument band, displays the composer’s innovative approach to music creation. The instrumentation is five separate wind ensembles, 2 brass ensembles, electric guitar, piano, electric bass, and drum set. Through the fission of jazz, contemporary classical, and big band elements, James crafts a distinctive and vibrant sound in this particular work. The intricate rhythms and the apparent improvisation are elements of jazz. The repetition in the foreground at the beginning and in the background during most of the piece provides the elements of contemporary classical music. In addition, the big band elements are present in the energetic and bold brass section dynamic arrangement. The piece’s highlight on a personal level is the clarity with which all these elements are fusion. James creates an individual and distinctive section, but at the same time, coherence exists. The use of repetitive elements reminded me of the work by Phillip Glass’ Train 1. Using repetitive patterns, James seems to explore the evocative nature of trains and the bustling routines of a city. The heavy use of variable meters is another element of contemporary classical music.
References:
Band Camp. Brooklyn Babylon. Accessed on 23rd May 2023 from: https://darcyjamesargue.bandcamp.com/album/brooklyn-babylon
Depeche Mode (1977-present) – Personal Jesus (1989). Accessed on 14/08/2023 from: https://youtu.be/dj9U3QLTd1c
Depeche Mode is an English electronic band formed in 1977. The song Personal Jesus was released in 1989, marking one of the most iconic periods of the band. The instrumentation chosen for the song is drums, synthesised keyboards, guitar, bass, and vocals. The song has a distinctive guitar riff, which serves as the fundamental element along with deep and soulful vocals. The drum pattern appears to be persistence very much the whole song, creating perhaps a religious repetitive pattern. The synthetaser provides the song with a layer of atmospheric sonic, dark colour contrasting with the guitar patterns. The rhythm and groove of the song contribute to the dance feeling. The lyrics in Personal Jesus explore with themes of faith, devotion, and the complexity of relationships. It will seem that Depeche Mode lyrics allow for multiple interpretations. Among those interpretations exist the possibility that he portrays himself as personal guidance and salvation, which can also be interpreted as a more religious experience. Perhaps this duality adds to the success of the song. On a personal level, the song is appreciated, and although I do not follow this style of music, I understand the contribution of the band in the history of music by fusioning synths, electric and pop music.
Harrison Birtwistle (1934-2022) – Earth Dances (1986). Accessed on 07/08/2023 from: https://youtu.be/c6CXGylK5gI
This is a major orchestral composition completed in 1986 with a powerful orchestration due to his dynamic changes, articulations and combination of instruments. The work appears to be inspired by the idea of the natural earth’s forces and cycles of nature. Its form is divided into six ‘strata’, whose changing relationships reflect those of the earth’s geological layers [1]. Birstwistle seems to apply a lot of effort and detail to the composition of the percussion section, which appears to have a primordial role. The composer also seems to offer an immense amount of rhythmic cell changes, perhaps evoking contemporary works like Stravinsky’s (1882-1971) The Rite of Spring (1913) in my mind. Other composers that came to mind were Richard Wagner (1813-1883) in his work The Ring Cycle (1874) and The Lord of the Rings (2001) soundtrack by Howard Shore (1946-present). The complete work is undoubtedly atmospheric and a cinematic-sound experience. It is worth mentioning that the film Predator (1987), directed by John McTiernan and Scored by Alan Silvestri (1950-present) was produced merely a year later than Bristwistle work, and both share an astonishing similar orchestration and enigmatic energy. On a personal level, although I was amused at the amount of variety and rhythmic changes, I felt the work would benefit from visual support, which nowadays would be easy to produce with the tools like youtube.
Reference:
[1] The Rough Guide to Classical Music. Dorling Kindersley Ltd. 2010. pp. 84–85
Ross, A. Birtwislte’s Earth. Accessed on 07/08/2023 from: http://www.compositiontoday.com/articles/birtwistle_earth.asp
The editors of Gramophone. Britwistle Thesous Game Earth Dances. Accessed on 07/08/2023 from: https://www.gramophone.co.uk/review/birtwistle-theseus-game-earth-dances
Jean-Michel Jarre (1948-) – Oxygène (1976). Accessed on 12/08/2023 from: https://youtu.be/BznDy7bxl9M
This work by Jean-Michel Jarre is probably the most iconic work from his album. He uses a synthesiser and electronic instruments, like silent cymbals, to achieve a sonic landscape that gives the listener a sense of joy and hope. The track begins with a pulsating bass line that evokes a Renaissance dron. This device establishes the rhythm foundation and is kept throughout the work. Jarre adds layers of sounds upon this foundation, using sweeping pads, arpeggiated sequences and resonant leads to create variation and keep the interest. A memorable melody is also layered and repeated throughout the piece. This repetition and variation in the layers of sound give coherence to the work. The melody seems to be a simple yet effective two-piece motif. Although this piece is modern, the fundamentals of it are based on harmony and easy-to-understand writing that connects with the listener effortlessly. Jarre also appears to alter the timber of the melody, perhaps imitating the orchestral call and response device among flutes and oboes or clarinets. The piece has a sense of moving forward due to the harmonic progression reaching a climax around halfway to the piece and again towards the end. Jarre, whose father is a well-known film composer, seems to choose the contemporaneous wave of electronic music for his instrumentation rather than the orchestral approach. However, in a very eloquent and minimalistic way of writing, managing to popularise it and making it easy to comprehend for the general public, achieving this way a notorious and prominent place in the history of electronic music.
Jimmy Lopez (1978-) – Fiesta (2011). Accessed on 19/04-2023 from: https://youtu.be/uzMhGj-YXww
This composition by Jimmy Lopez presents a modern and innovative approach, predominantly the condition of rhythmic cells that flow seamlessly from one instrument to another. Lacking a traditional harmonic hierarchy gives the piece a unique and modern character. The orchestration weaves together various elements, evoking an atmospheric presence that occasionally hints at rhythmic influences from salsa, merengue and samba. The strategic use of congas and bongo drums adds a distinct South American flavour, ingraining the composition with cultural richness. The rhythmic frame plays a vital role in this musical creation, with accented beats serving as a backbone. Surprisingly, all instruments support one another without any single one taking the primary role as such. The composer produces waves of texture and colour, blending the instruments. However, the cellos and the brass have a prominent role, and the violins are also very active. Although the overall modern form of the composition might not align with personal preferences, It undeniably delivered an exciting, vibrant and dynamic orchestration.
Maryanne Amacher (1938-2009) – Intercept (1983). Accessed on 08/08/2023 from: https://youtu.be/JXkwfbaaO_U
Maryanne Amacher’s is a significant work that explores the relationship between architectural spaces and sonic environments. The work appears to be a collection of sound installations designed to engage listeners in a dialogue with their urban surroundings using dedicated FM-quality analogue phone lines. This work has a spatial element, as the sounds reach distant parts of the USA. In that sense, the work experiments with an innovative idea of the relationship between sound, space and perception. The project seems to have more of an experimental approach to electronics and sonic art than tonal music. There seem to be only a few layers of perceptive sounds, a low pass and a high pass, similar to those in the equaliser filters. However, some perceptive familiar sounds are in some ‘sections’ of the work and at the end of the tape recording. Although amusing at first and having an implication for contemporary music using technology elements, on a personal level, the experiment does not keep up the interest beyond the importance of the investigation and research in sound producing and recording. That said, the work’s process and intentions are understood and have given me insight into that contemporary period of music history.
Reference:
38, Ludlow. 2010 Maryanne Amacher’s City Links. Accessed on 08/08/2023 from: https://ludlow38-archive.org/exhibitions/maryanne-amacher-city-links/
Tōru Takemitsu (1930-1996) – November Steps (1967). Accessed on 13/08/2023 from: https://youtu.be/qcT_j9Dzt9Y
November steps is a significant work by Japanese composer Toru Takemitsu. The work’s uniqueness, among other elements, appears to be merging Western and Eastern musical instruments, creating exciting and vivid sonic landscapes. The composer employs The Shakuhachi, a bamboo flute derived from the Chinese xiao in the 8th century [2], and a Biwa, a Japanese lute related to the Chinese pipa, to create a sense of Eastern moments. Takemitsu also employs the traditional Western orchestra. Most of the composition thought, concentrating on single long notes to express the stillness of emotions using Japanese instruments. The use of silence is also a primordial role in the composition of this work. It will appear that the form is two continuous sections, each of those concentrating on a solo Japanese instrument. However, there are moments of interplay between the instruments and the orchestra. The work seems to also include contemporary Western dissonant elements evoking those of Schoenberg, building an atmosphere of uneasiness and complex harmonies. The texture and atmosphere appear to be created by the interplay of the biwa and orchestra, the shakuhachi and the orchestra, and the orchestral instruments blending together traditionally. November Steps also seem challenging to perform due to the extended technique appreciated, especially at the beginning of the work, making it only playable for a professional orchestra rather than an amateur. On a personal level, the work has helped to further understand the importance of combining different instruments to produce a unique sound when orchestrating. It has prompted in my head various potential projects for my future portfolio.
References:
Britannica, The Editors of Encyclopaedia. “biwa”. Encyclopedia Britannica, Invalid Date, https://www.britannica.com/art/biwa. Accessed 13 August 2023.
[2] Britannica, The Editors of Encyclopaedia. “shakuhachi”. Encyclopedia Britannica, Invalid Date, https://www.britannica.com/art/shakuhachi. Accessed 13 August 2023.
Next: Reflection Part 4
Orchestration and Arrangement 