Orchestration Workshop 2013 - Chopin

I would gladly choose it if you all agree.

And after a day of study, I immediately propose three choices that are easy:

n. 4 in E minor

n. 6 in B minor

n. 13 in F# major

If you want, we could use the same instrumentation as Chopin's Piano Concerto No. 2:

2 fl.

2 ob.

2 cl.

2 fag.

4 horns

2 trumpets

1 bass trombone

timpani

strings

let the voting begin.

You didn't like the 4?

... and I would leave the organic part free, yours can still be a starting point or a suggestion

I see no time is being wasted

RStrauss, but wasn't the pf also in the orchestration?

...by having to give it up, don't "imbalances" occur?

Frank wrote:

Didn't you like the 4?

if I had to tell you what I liked least, I would have no doubts: the 24 in D minor.

but orchestrating this so badly is becoming difficult.

the 4 and the 6 are more suitable, and with the 13 we raise the bar a bit ... I would start like this and maybe for the next one we go heavy-handed.

i am also waiting for your opinions.

Frank wrote:

... and I would leave the instrumentation free, yours can still be a starting point or a suggestion

certainly ... mine was just a proposal.

Destroyed wrote:

I see no time is being wasted

RStrauss, but wasn't there also the pf in the orchestration?

…having to renounce it, doesn't that create "imbalances"?

that's the beauty of it ... if we leave out the piano, it's too easy.

...ok RStrauss, but 6 months for a single page

rstrauss wrote:

this is the beauty of it ... if we leave the piano, it's too easy.

It is good that instruments are used where they can best express their character, barring particular needs; I would not limit myself. I insist on free organicism

Obviously no, the piano...

To me that one in D major is very tempting...It makes it do re._e. does re.do...

etc

Destroyed wrote:

A me quello in re- tenta tantissimo...La_fa re._e. fa la re.do...

Very challenging and also a bit tough as RStrauss says... if I were you I wouldn't limit myself to the organic [size/scope], it is already difficult... if you also set limits for yourselves

Frank's exciting new initiative!!

I would suggest free instrumentation (from quartet upwards) and a free prelude, so everyone can choose what they feel most comfortable with.

Otherwise, the same instrumentation and prelude for everyone, so we can compare different solutions to the same problem.

I haven't looked at the proposed preludes yet; I will do so as soon as possible.

ps

then it might also be time for me to get a move on with resuming Leibowitz's exercises

I agree with Eagle and Ale regarding freedom in the organic; orchestration is also a personal aspect ... which is why I believe it is more appropriate to choose one's own instruments.

At this point, I am also for re-, if we have to struggle, at least let's choose a piece where we will have to work and "discuss"...

In effect, Jean Françaix chose the instrumentation; I would say to make a mix between AleGozzo's 2 proposals, same prelude and instrumentation of choice.

I continue to lean towards re-, I took a look at it yesterday and I think I've had some ideas... hopefully good ones...

I agree with the free ensemble.

However, one condition: there must be no piano.

ok ... let's hurt ourselves ...
and let's go with no. 24 in D minor.

Ok, so I have summarized at the top what was agreed upon

I started working on it... challenging

I started watching it too, man, it's so difficult !!!

intricate figurations and high speed, it won't be easy to develop solutions that work in reality and not just on the computer

AleGozzo wrote:

intricate figurations and high speed

In your opinion, are there no suitable instruments to sustain certain passages? If so, which ones for which points? I mean, what problems have you already foreseen?

I only took a quick look, I haven't reflected on it properly yet, but the bass staff worries me above all. Agile instruments are needed, but they shouldn't get too tired since the figuration is continuous throughout the entire piece.

in addition, it would be a good thing to develop an orchestration that cannot be played only by the Berlin Philharmonic

I am halfway through, but I don't know if I can make it by the end of October.