Le Six (1920) – Les Maires de la Tour Eiffel (1921). Accessed on 15/10/2023 from: https://youtu.be/7zc2FirtReE?si=cmfIkr_-5SYWebzX
Le Six emerged with a clear rejection of German Romanticism and the lush Orchestration by Debussy (Britannica) It was composed by Darius Milhaud (1892-1974), Francis Poulenc (1899-1963), Arthur Honegger (1892-1955), Georges Auric (1899-1983), Louis Durey (1888-1979), and Germaine Tailleferre (1892-1983). This particular composition by Le Six appears to be distinguished by some fundamental characteristics that make it different from the trend of the Romantic era. The size of the Orchestra does not seem to be a large one. This allows the textures to be perceived clearer. The Orchestras in the Romantic era appear to be large in size as in Wagner’s (1813-1883) and Mahler’s (1860-1911) orchestras The instrumentation of Les Six also includes sirens and typewriters as in the work Parade (1917). This will make the piece unconventional with new additional sounds for the era. Could this unconventional orchestration have been the predecessor of John Cage’s (1912-1992) extravagant Water Walk (1960), Ameriques (1921) by Varese (1883-1965) or Leroy Anderson’s (1908-1975) Typewriter (1950)? The percussion section seems to play a major role with striking drive and adding colour. I feel that the genuine originality of the composition, and indeed the group is the fact that there are actually six composers, each one adding their own idiom and perspective in musical partnership. Although out of place and time, this composition can be very useful to discover new ways of juxtaposing a variety of styles of music and in the pursuit of creating a unique idiom.
Reference:
Britannica, The Editors of Encyclopaedia. “Les Six”. Encyclopedia Britannica, 13 Aug. 2012, https://www.britannica.com/topic/Les-Six. Accessed 21 October 2023.
Sunam, D. 2019, Pedagogical Thoughts on Album des Six: a piano set by Les Six to represent French
Nationalism. West Virginia University.
Igor Stravinsky (1882-1971) – Petrushka (1911). Accessed on 17/10/2023 from: https://youtu.be/Fzp89DVuUlI?si=SlreAg2xMZxp3sIZ
Igor Stravinsky’s Petrushka does, as many of his other compositions, push the boundaries of traditional orchestration techniques. The composition is characterised by the diversity of colour and rhythms. Stravinsky opted for a large orchestra. The composition itself is very complex but somehow simple as it relies almost entirely on rhythmic cells. That said, it sounds more consonant and with more melodies than his later work The Rite of Spring (1913). Petrushka like any other ballet music, must mimic what is on the stage, therefore sometimes the sound produced by the whole orchestra is chaotic and fantasy infused. By far the most noticeable element of the composition is the use of dissonances. The composer chose to use a piano, whose colours and dynamic palette add to the whole experience a sophisticated touch. He appears to apply unconventional scales and harmonies, which brought to mind later atonal works at the piano like Sally Beamish’s (1956-Present) Hill Stanzas (2016). Stravinksy seems to apply different instruments or a melody to each character, using each particular timbre to further identify and represent the aural and visual experience. The percussion has a primordial role in this composition as it does in other of his works. The composer balances the usage of all instruments, so all musicians have a moment to shine. It seems that Stravinsky makes extensive use of the bassoon for melodic passages. The addition of extended techniques and unusual instrumentation like bass Clarinet, contra-bassoon and English Horn, provides the composition with unique character. I enjoyed the work due to its uniqueness of timbre, extended techniques applied to the instruments and the variety of dynamics, elements of surprise and overall balance between all the elements of musical composition and orchestration.
Maurice Jarre (1924-2009) – Shogun Soundtrack (1980). Accessed on 10/10/2023 from: https://www.youtube.co/watch?v=56FK7m8V38glist=OLAK5uy_n7BjyaE3F_jkTtwoAwjLFgewuhYg39VTE&index=1
I recently revisited the series Shogun and I quickly made a connection between the soundtrack and the exercise world orchestra. Jarre creates a soundtrack where cultural and traditional Japanese are sensitively portrayed in music. To achieve this, Jarre incorporates traditional instruments and melodies into his composition, providing authenticity and a true approach. The main theme reminded me of composers like Miklos Rozsa (1907-1995) the soundtrack El Cid (1961) and the intro of Alfred Newman’s (1900-1970) All About Eve (1950). One of Jarre’s signatures in orchestration is the use of quite tremolos in the background, normally produced by the string section. Jarre gives emphasis to the percussion section in the soundtrack. He doesn’t solely use the percussion instruments for accentuation purposes, rather he chooses to give a main role in this composition. Other orchestration features of Jarre’s signature appear to be the use of trills and octaves in his melodies. To create a Japanese sense, Jarre uses drums and gongs, cymbals, traditional flutes and what seems to be a shamisen, which resembles a lute. In addition, the application of oriental scales creates a Japanese atmosphere. However, Jarre does not merely use Japanese instrumentation. He forges the Western orchestra with the Japanese instrumentation to create an interesting and coherent soundtrack. I was delighted by the idea of of mixing different world instruments, and I have already applied them in some of my compositions, however, doing this listening has opened a new way to introduce different aspects of world music to my music.
References:
https://livejapan.com/en/article-a0001807/ Accessed on 10/10/2023.
Hanz Zimmer (1957-) – Gladiator Suite (2000). Accessed on 17/10/2023 from: https://youtu.be/t4qkkd_pJKc?si=R24WOkRaImt1xoBo
Hanz Zimmer’s Gladiator is a well-known film composition that has many orchestral similarities with The Planets (1916) by Gustav Holtz (1874-1934). The most striking similarity is in section three where the strings play a repetitive note in staccato the brass takes in the main melody. The Orchestration itself appears to be simple light textures. The textural interest increase due to the added balance of instrumentation like in the first section where the brass takes the main melody and the woodwind provide supportive harmony and at the same time adds colour to the melodic element. This unity of the brass and woodwinds creates unity and a variety of tone colours at the same time. The strings in the first section appear to be providing background accompaniments while the timpani and snare provide drive forward to the music. The use of exotic scales at the beginning also aids the creation of an atmospheric foreground. Zimmer’s choice to introduce the second section is an ascending scale in order to create interest and tension. It was noticed that the bass drum player had two sets of sticks, and soft and one hard. It will seem that the choice of beater will be used according to the passage or section. The Cymbals seem to have an accenting purpose sometimes announcing the end of phrases or sections, like when entering section four. However, towards the end the Cymbal hold greater importance, increasing the dynamics to ff with a wide open release creating in that way brilliance and using all the space available. The cellos appear to have an emotional impact, especially in the fourth section. Using heavy vibrato the emotional element is enhanced greatly. In that particular section, the melody is passed from the cellos to the trumpets, creating contrast and interest in the use of space and timbre. Towards the end section, the strings are used to create tension using trills and forte dynamics. There exist moments of great dissonance where Zimmer’s orchestration appears to be tutti increasing dynamics gradually in the form of a crescendo adding tonal weight and excitement. Overall, I feel the orchestration is balanced and interesting, the planes of harmony are distinct and respected and there’s a good balance of sonority.
Louis and Bebe Barron (1920-1989)(1925-2008) – Forbidden Planet (1956). Accessed on 01/10/2023 from: https://youtu.be/aryHMPH7Kcc?si=wqQmqGj2jTSzHyEl
Bebe Barron was a forerunner on electronic sound development for film music as presented in Forbidden Planet. Bebe seems to have been formally educated in music studying composition and ethnomusicology at the University of Mexico (Scharder 2008). Louis was also educated in music at the University of Chicago. According to a The New York Times article, both cooperated on concerts and on such Broadway productions as Visit to a Small Planet, The Happiest Girl in the World and The Chinese Wall. In Forbidden Planet, we are presented with a variety of sounds, all of which seem to have been produced electronically. It is unknown to me if any instruments of the orchestra could have been recorded, modified and edited to obtain any of the sounds. However, from the clip listened to on YouTube only electronic sounds are perceived. Among those sounds, are sirens, electric blobs, sounds of descending aircraft, and what could seem as high-pitched electronically manipulated waves. The connection with traditional music can be regarded by the repetition of sounds, layering of sounds to the foreground and background, use of dron and dynamically ascending crescendos in some layers. Nowadays, this form of composition might seem primitive in terms of what sounds can be created with computers, however, the novelty of the soundtrack created such an impact that licencing royalties in America did not want to recognise the soundtrack as actual composed music with musicians.
Reference:
The New York Times. November 17, 1989
Barry Schrader (April 29, 2008). “Electronic Music Pioneer Bebe Barron Dead At 82”. Synthtopia. Retrieved 2010-10-01
https://www.allmusic.com/album/forbidden-planet-original-motion-picture-soundtrack–mw0000203771
Chaya Czernowin (1957-Present) Hidden (2017). Accessed on 31/10/2023 from: https://youtu.be/YJOv2GcVOoc?si=9DJRakPXZ_b1WVAo
Chaya in Hidden presents a work of sonic art perhaps representing the hiding sounds that can be produced from traditional instruments normally not performed. In the same manner of contemporary composition as Helmut Lachenmann (1935-), Chaya utilised only extended techniques from the instruments, mainly perceived as strung and electronic devices. It will seem that the composer’s focus is on space and gesture. The composer creates uncertainty about what sonic layer will become foreground or background in an ensemble of sounds. As per the composer’s words, she wanted to create an ‘Etude in Fragility’ with her cycle of works for voice and breath. In most of these types of contemporary compositions, the imagination plays a great part in understanding what is the purpose of the work. I feel that this work may expand the sensorial perceptive systems of the listeners. However, an explanation of what is intended from the work of sonic art is always an advantage to receive. Perhaps the more I listen to these kinds of compositions the more I will understand them. Some of the sounds can be decrypted as rainwater and some others as a swarm of wasps, perhaps trying to imitate as many composers’ nature through instruments and electronics. Although was interesting to learn about the composer and the work, it will not be part of my everyday preferences in music.
Reference:
https://naxosdirect.co.uk/items/chaya-czernowin-hidden-427717 Accessed 31/10/2023.
Aman Khachaturian (1903-1978) – Sabre Dance (1942). Accessed on 30/10/2023 from: https://youtu.be/gqg3l3r_DRI?si=EW6rpdQzf3Zyweps
According to Helper and Wasatch, Khachaturian stayed in Yerevan in 1939. He composed the ballet Schast ‘ye. He then extremely rewrote it, creating the Gayane Ballet in 1942. After finishing the Gayane Ballet score, Khachaturian composed the Dance of the Kurds requested by the Kirov Theater. The Dance later became known as the Sabre Dance. The drive and energy of the piece seem to be provided by the tempo, articulation and dynamics. There’s also little or no silence at all in the piece and the sense of rush is driven by the percussion section and the staccato strings. It was noticed the combination of cellos and saxophones playing in combination, something that I’ve never seen before. The outcome of this combination is a higher degree of expressiveness and warmth of tone. The variety of timbre in the brass section appears to be highly induced by the muted trumpets, which also provide brilliance and sharpness to the piece. The harps appear to be used to add a layer of colour and the tambourine to add continuity and accent the phrases. Towards the end there exists an interesting descending chromatic scale performed by the stings and woodwinds, this fast scale provides a sense of ending and expectation. The snare seems to introduce an element of surprise connecting one section to another in the composition. The last element of surprise is the exotic scales which reinforce the sense of traditional Kurdish origins.
References:
Helper, A & Wastch J. April 16, 2002. Facets Model Assignment: “Sabre Dance”. Weber State University. Accessed on 30/10/2023 from: https://faculty.weber.edu/tpriest/FacetsMdl_files/Sabre%20Dance.html
Errollyn Wallen (1958-Present) – Mighty River (2017). Accessed on 22/10/2023 from: https://youtu.be/i7uqK3qj_Ro?si=9aU6ixw8PK1euzwf
Enrollyn Wallen is a composition for a small traditional orchestra. It is an orchestra formed of mixed racial nature with seasoned and all walks of life musicians. From her official website, I learned that Errollyn Wallen is a multi-award-winning Belize-born British composer and performer. Her prolific output includes twenty-two operas and a large catalogue of orchestral, chamber and vocal works which are performed and broadcast throughout the world. She was the first black woman to have a work featured in the Proms and the first woman to receive an Ivor Novello award for Classical Music for her body of work. Her musical career seems very impressive. During the listening, I noticed that the piccolo and flute were doubled by the same performer. at the beginning of the piece, the instrumentation chosen for the melody was the Horn passing to the piccolo and to the oboe. It will seem that Enrollyn’s intention was to contrast the full sound of the horn with the light timbre of the piccolo passing to the nasal and penetrating timbre of the oboe. The violins and strings appear to be in the background while the woodwinds are in the foreground of the piece. For balance, Errollyn makes diversity of background and foreground instrumentation. The violins reminded me of my own composition for the module moving on with the composition Idyll for Strings (2021) which can be found here. The piece seems to be constructed from a tonal perspective, using melody and harmony. However, there exist parts of the cell-like structure which is a more contemporary form of composition. These cells appear to pass from instrument to instrument making good use of the space. The percussion appears to have the conventional use of accenting the phrases and enhancing the access from one section to another in the composition. I liked the piece as it has a well-balanced orchestration. The composer balances the timbre, dynamics, melodic output and all the other elements of composition and orchestration. This piece is without a doubt a good reference for a well-orchestrated composition
Reference:
Wallen, E. Biography. Accessed on 22/10/2023 from: https://www.errollynwallen.com/biography
Orchestration and Arrangement 