Well there’s one thing that always gets me going. Gets me so excited that I want to start a project such as that myself. It is orchestral collaborations with bands etc. Just love it. Some “purists” hate it, but they are just boring. To me, they are something that the players love, because they are at long last doing something new and fresh, and the audiences love it because of too many reasons to note. Of course also, it brings a whole new audience to an “orchestra” concert.
These were popularised firstly I guess by the legendary Michael Kamen. He orchestrated and conducted so many concerts, including ones with Pink Floyd, Queen, Eric Clapton, Aerosmith, David Bowie, Bryan Adams, Sting and Metallica. The latter, I think, is absolutely amazing. See a track from it here. It is so wonderfully orchestrated and put together. Of course the huge full size orchestra makes it all the more better.
MANY of these happen each every year and I wish there was some place where I could keep track of them all. Another one I found was a recent one from the UK. This orchestra is much smaller in size, but still, it’s an orchestra. This one is The Bays, who are an improvisation kinda band, who teamed up with The Heritage Orchestra in Liverpool. They also do some amazing stuff with how the orchestra players get their music … check it out.
Finally, I can’t leave without mentioning a little homegrown talent. John Psathas recently arranged all the music for a Little Bushmen / Auckland Philharmonia gig. I couldn’t make it to the concert, but have watched the documentary, and it’s fantastic. It’s a three part doco which starts here, but if you want to go straight to the final concert, see that here.
Well I’ve only briefly mentioned three, so do let me know if you have any favourites.
I just listened to a podcast from Upbeat with Eva Radich called “The Emperor’s New Clothes?�. Many of you may have heard the original interview on Concert FM, but if not the podcast is available here. Anyway it was a debate between Eva and James Gardner (composer and 175 East director), both great people, about contemporary music. Specifically programming, programme notes, and it being inaccessible and hard for audiences, all in relation to last weekends’ concerts by 175 East and Stroma (NZ’s leading contemporary ensembles). It was quite a good listen and if any of you get a free chance then definitely give it some time.
The discussion about programme notes was around whether or not to have them and to what extent. Should music completely speak for itself or should it have a note to provide some insight? There was also debate as to whether a long programme note consisting of “semi-intellectual twaddle� does anything productive for the piece – a lot of technical words that really glorify the composers’ vocabulary and intellect rather than the musical meaning.
This lead to the point of the music itself being more an intellectual activity for the composer rather than it providing any emotional impact to the audience. Some may say that the music is too complex for the audience to understand. But it was asked what the point of this is. It is hard enough getting audiences to contemporary music concerts as it is, and are all these elements just making it harder? Have audiences moved on from this? Other modern music, that of John Psathas was mentioned, is very inclusive; it speaks for itself and always gets full houses. So question was asked as to why make it harder and harder for audiences to understand and enjoy contemporary music.
Of course this has always been a debate, and it was great to hear some spicy discussion on it again. Both 175 East and Stroma and their artistic directors do a fantastic job and do have many elements that help to draw the audience into the concert. I have been to many myself, and they are very enjoyable concerts. BUT I totally see Eva’s many points as very relevant. There is so much music that is far more “intellectual� for the composer than “emotional� to the audience (…not that it all has to be). I have been down that path myself, but have come out the other end. As a composer I think without any question the main goal is to affect the audience. The composers that primarily consider this are those that are most successful.
Anyway great debate, have a listen if you can. Bye for now!
Ok as I’m sure most of you know, most of John Williams’ film scores are taken from classical works … in fact basically all of them. Anyway last night was at a NZSO concert and I swear in Sibelius’ 3rd Symphony, there were FOUR themes from John Williams’ Jurassic Park. Has anyone else recognised these?? Or was I just hearing things?? Let me know…
I’ve been thinking about a few things to do with orchestral workshops. Firstly, some pieces make the orchestra do silly, cheesy or comical things which are musically totally unnessary. This is not saying things need to be “serious serious” … of course, but the ideas need to be set within a “real” musical context. I’ve heard a few things lately in pieces, but they just cheapen the music so much. Personally, I don’t feel as though its a joke to be getting the NZSO … for example … to do stupid things. I may be wrong … let me know.
Secondly, the lack of respect for the players has been driving me nuts. There have been numerous examples of composers during rehearsals talking condescendingly and with no respent towards the orchestra. This drives the players crazy. I was talking to a player in the Auckland Philharmonia, and they as well have had some examples of this lately.
I don’t know, I mean, these are professional orchestras, and it costs a HECK of a lot of money to have them operating. Also the players are often rehearsing for many hours on end. I guess I’m just wondering how necessary it is for the presence of these two elements. I just think that composers should fully respect any professional performers they are working with and they should treat orchestral workshops as a rare and an extreme privilege.
