For this listening, I chose three arrangements of Air in G String (1871) by Johann Sebastian Bach (1685-1750). These arrangements are for Orchestra, Brass Quartet and Choir.
The Orchestra arrangement performed by the London Philharmonic Orchestra has a wider sound projection. The original is composed for a small string ensemble, and in contrast, the LPO’s version is performed by a much larger string orchestra, with added brass and woodwind sections. This difference in instrumentation provides a much richer and fuller sound. The other difference seems to be the tempo, while the original seems to emphasize the melody’s beauty, the LPO version seems to be played at a slighter faster tempo, giving the piece a livelier feel. Booth variation from the original creates a more energetic and dynamic sound. The original seems more intimate due to the smaller amount of instruments. The LPO version appear to have a more significant use of dynamics, adding a layer of emotion and drama to the piece, perhaps making it more engaging. To add to the emotional aspect, the Orchestral arrangement features a more noticeable vibrato in the strings, while the original seems to be a more straight tone focusing more on clarity and melody. The Brass Quartet arrangement was performed by The Helsinki Brass Quartet. In this arrangement, the most notorious difference is the choice of instruments. The arrangement has perhaps more energy and brightness in parts due to the power of the Brass instruments. Although the trumpet provides emotion, the brass version is far less intimate and warm than the original, and if so, perhaps rather sombre and sad, funeral-like perception. The Brass Quartet thou seems to have a rich tapestry of sound in the sense of harmonic fullness. The tempo also seems to have been diverted from the original and is taken a rather slow path into a darker work. Finally, the Choir version is performed by Bel Canto Choir. This version’s first impression is the scat singing of the bass section imitating the double bass. Perhaps they will looking at more contemporary sounds. By usein voices, rather than instruments there seems to be a addidinton layer of meaotoin and expression than the original composition. The melodic material in all voices swell and recede like the original, however, the human voice perpahs create more sense of drama and tension in some disonances. Based on their ability to showcase the beauty and adaptability of Bach’s composition, I feel that all three arrangements appear to be successful. In my opinion, the original composinotn has not suffered any loss; in fact, the arrangements have added more beauty, energy and tranquil, on every specific arrangement. I believe that the composers challenge of the composers during arrangement can vary very much depending on the balance they need to produce between the original their version. On a personal level, the historical context of the piece and original instrumentation must be researched. Also, the arranger needs to make decision about which instrument to include and distribution of melody and harmnoic material, in order to capture the essence of the original piece. The arranger, will need to find the balance between the new instrumentation to create a cohesive new overall sound. In addition, the range, dynamic and phrasing I believe it should be considered. In my personal opinion all the arrangements have succeeded on their goal. All permonaces seemed to have variety of timbral palete. However, the Brass Quintet and Choir perhaps have less variety than the LPO. In those arrangements I feel that the contrast has been preserve by the inclusion of varying dynamics and interplay between voices. In my opinion, the RPO version contains ag greater number of embelissments compared to the orianl straitforward in terms of added material. In my view, familiarity with origanl is not a prerequisite for enjoying the mertits of these arrangements, which stand on their own as well-cratered pieces. Hoever, I must note that the Brass Quartet arrangement didn not hold my attention as much, and in such instances, a prior undetandin of the original composition might be advantageous. As per the orginal piece has no text, this feature has not be lost or added.
References:
Bel Canto Choir. Air on a G String. Vilnius. June 2011. Accessed on 17/04/2023 from: https://youtu.be/Pr9B3ipwMx8
Helsinki Brass Quartet. Air on a G String. 2019. Accessed on 17/04/2023 from: https://youtu.be/A_dwElSsYmA
London Philarmonic Orchestra. Air on a G String. 14th august 2010 at the Royal Albert Hall. Accessed on 17/04/2023 from: https://youtu.be/nqEOTYZuu-M
Orchestration and Arrangement 