Quique
Featured Dancer
Posts: 65
|
Post by Quique on Mar 25, 2007 3:30:47 GMT -5
Orchestrations are (or should be) the emotional underbelly of a song - an underappreciated art that's subjected to such cheap terms as "backing tracks" and "karaoke," as if their only purpose is to showcase the vocalist.
I love thinking about what an orchestrator may have been thinking when writing a specific set of arrangements. As in any form of communication, it has its many components that, together, form a sort of unique language. I love how a skilled orchestrator knows the difference between bombastic bull, push-button emotionalism, and sincerity. The latter is what draws me in the most. Not to mention those whom create a different level of complexity that can literally stand alone without the need of a vocalist.
My favorite orchestral score is obviously that of John Cameron's for Les Misérables. I feel it is at least 80% of the reason I love the show so much. Even without vocals, it tells it's story effectively and as Cameron once said, it's music "cried out to be on the stage," to tell its story.
What show's (or song's) orchestral score draws you in the most? Why do you think it has such an effect on you?
|
|
dvarg
Chorus Gypsy
Posts: 15
|
Post by dvarg on Mar 25, 2007 9:58:34 GMT -5
I really like the new orchestrations for Sweeney Todd. I don't think they necessarily are the ones that suits the musical best, but I am very intrigued by the idea of cutting them down to the barest necessities, and how it is carried through.
Otherwise I almost never pay attention to orchestrations.
|
|
|
|
Post by Drop Dead Red on Mar 25, 2007 10:13:13 GMT -5
A list.
5- Sweeney Todd (OBC).
4- The Light in the Piazza.
3- Sunday in the Park with George.
2- Company (OBC).
1- Titanic (marks the only time orchestrations made me cry [in between the reprise of "In Every Age" and that of "Godspeed, Titanic"]).
|
|
Mizzie
Featured Dancer
Arrrrr I'm A Pirate
Posts: 57
|
Post by Mizzie on Mar 25, 2007 12:10:37 GMT -5
I, too, will write my list (in no particular order):
1. Ragtime - Especially in 'Your Daddy's Son.' The strings in this show just kill me, and I love all of the orchestrations in 'Henry Ford.'
2. Man of La Mancha - The chosen instruments fit the show and style of music perfectly. The trumpet parts are amazing. 'Little Bird' is beautiful.
3. Les Misérables - OLC Stars. Just listen to it. You'll get it. Not to mention the rest of this freaking show!
4. Chicago - I just love the style and the dance number orchestrations.
5. Company - Listen to the title song, right after 'Phone rings, door chimes, in comes Company...' The riff in there gives me chills.
6. Spelling Bee - Yes, that's right. Spelling Bee. The orchestrations have a sort of youth to them, which really fits the songs in the show. Plus, I love the show in general, so yay!
7. Seussical - Same reasons as above....they just work with the show itself.
8. HAiR - The orchestrations on the OBC are beautiful. You don't even notice them at first, but when you do, you really appreciate them. I especially love the use of the saw in Hare Krishna.
9. Sweeney Todd - I was impressed with the strength of the music for the small amount of musicians.
10. Pippin - I just think they're great!
|
|
|
|
Post by musikalgeek on Mar 25, 2007 12:44:16 GMT -5
Off the top of my head, the orchestrations for the CATS movie were amazing. I don't like particularly like the show, but I must say that the orchestra blew my away.
|
|
|
|
Post by Mary Lane on Mar 26, 2007 9:51:51 GMT -5
Two that come to my mind;
Company - Both the original and revival. I like elements from each, so it's hard for me to choose between them.
Cabaret - I tend to like the orchestrations in the original moreso than in the revival recording. For instance, the woodwind part in "Willkommen" right after the MC says "and now to serve you." It just makes me happy for some reason.
|
|
mac
Chorus Gypsy
Posts: 10
|
Post by mac on Mar 26, 2007 11:24:57 GMT -5
Great topic Quique (even though I disagree about John Cameron....YUCK).
1. "Company" by Jonathan Tunick
2. "Follies" by Jonathan Tunick
3. "A Little Night Music" by Jonathan Tunick
4. "A Chorus Line (revival)" by Jonathan Tunick
5. "A Chorus Line (obc)" by Jonathan Tunick
6. "Sweeney Todd" by Jonathan Tunick
7. "Nine" by Jonathan Tunick
8. "Titanic" by Jonathan Tunick
9. "Into the Woods" by Jonathan Tunick
10. "The Phantom of the Opera" by David Cullen
11. "Evita (London revival) by Andrew Lloyd Webber himself!
12. "Porgy and Bess (Houston Opera)" by John DeMain
|
|
Quique
Featured Dancer
Posts: 65
|
Post by Quique on Mar 26, 2007 13:35:32 GMT -5
Ahh. Why don't you like John's original Les Mis orchestrations? They are probably the most beautiful I've ever heard!
Well, I know some people don't like the original ones because they say they have too much of that 80's synth in some songs (as heard heavily during the prologue). But other than that, I'd say there's nothing wrong with them.
I'm so sorry Ciaron, but I feel I MUST smite you for that one, lol.
|
|
|
|
Post by Drop Dead Red on Mar 26, 2007 18:49:21 GMT -5
And I shall exalt him for Titanic.
|
|
|
|
Post by girlonthewing on Mar 26, 2007 21:25:02 GMT -5
I very much love the orchestrations for the original Sunday in the Park with George, and Light In the Piazza.
EDIT: Oh, and the West Side Story OBC. Lovely.
|
|
Mizzie
Featured Dancer
Arrrrr I'm A Pirate
Posts: 57
|
Post by Mizzie on Mar 27, 2007 7:17:35 GMT -5
Oh - How could I forget Sunday in the Park with George!? I guess the problem is that you don't listen as much to the instrumentals as the vocal lines, which have a lot of the amazing harmonies. Still....listening the the intruments....ah!
|
|
|
|
Post by fontinau on Mar 28, 2007 14:39:43 GMT -5
I basically hate Broadway orchestrations. They make me feel like I'm playing "name the cliché". (Cowboys on stage? Is Robert Russell Bennett going to use the "Rodeo" xylophones? Oh yes he is! Show set in a magic forest? Will Jonathan Tunick use the "Pelleas and Melisande" flutes and violins? Yes he will! A love song? Will every orchestrator in the world drown it in Hollywood harps and strings? Of course!) Some exceptions: West Side Story - Leonard BernsteinCompany - Jonathan TunickChicago - Ralph BurnsLes Miserables - John Cameron I think Quique's absolutely right about this. Compare the whispy chanson-y rhythms and tinny synthesizers from the French concept album to the deliberate beat and colorful romantic orchestra from any of the English language productions, and it's amazing how much Cameron does for the show. He digs up so many melodies and cathartic moments you'd never even guess were in the score otherwise, Boubil and Schönberg should have given him a co-composer credit. (People can bitch about the 80s-isms, but it could be so much worse. They could be 2000s-isms.) (By the way, the above whining only applies to post-Oklahoma musicals. Broadway orchestration from the 20s and 30s is awesome. If anybody here hasn't already, go buy/download Anything Goes, Lady Be Good, and Girl Crazy with the original orchestrations. It will change your life.) .................... |
|
Quique
Featured Dancer
Posts: 65
|
Post by Quique on Mar 28, 2007 17:26:55 GMT -5
^ Marry me, lol.
|
|
mac
Chorus Gypsy
Posts: 10
|
Post by mac on Mar 28, 2007 18:24:59 GMT -5
I basically hate Broadway orchestrations. They make me feel like I'm playing "name the cliché". (Cowboys on stage? Is Robert Russell Bennett going to use the "Rodeo" xylophones? Oh yes he is! Show set in a magic forest? Will Jonathan Tunick use the "Pelleas and Melisande" flutes and violins? Yes he will! A love song? Will every orchestrator in the world drown it in Hollywood harps and strings? Of course!) Some exceptions: West Side Story - Leonard BernsteinCompany - Jonathan TunickChicago - Ralph BurnsLes Miserables - John Cameron I think Quique's absolutely right about this. Compare the whispy chason-y rhythms and tinny synthesizers from the French concept album to the deliberate beat and colorful romantic orchestra from any of the English language productions, and it's amazing how much Cameron does for the show. He digs up so many melodies and cathartic moments you'd never even guess were in the score otherwise, Boubil and Schönberg should have given him a co-composer credit. (People can bitch about the 80s-isms, but it could be so much worse. They could be 2000s-isms.) (By the way, the above whining only applies to post-Oklahoma musicals. Broadway orchestration from the 20s and 30s is awesome. If anybody here hasn't already, go buy/download Anything Goes, Lady Be Good, and Girl Crazy with the original orchestrations. It will change your life.) .................... How can you pick on Tunick?! I am shocked Font. He is the greatest orchestrator in the past 100 years!!! This is the man who not only won a Tony, Oscar, Grammy and Emmy. He orchestrated some of the greatest scores in our lifetime!! He also orchestrated the music for classic films such as "Blazing Saddles", "Young Frankenstein" and "Reds". I feel so let down =( |
|
|
|
Post by fontinau on Mar 28, 2007 19:47:55 GMT -5
How can you pick on Tunick?! I am shocked Font. Didn't you see me pick Company as one of the Broadway orchestrations I like? Tunick has a great style. I like it when he uses it. I don't like it when he uses other people's styles. .................... |
|
