Entry for the 2022 Orchestration Challenge by Patreon supporter Kevin Germain.
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Now this might not be in the spirit of Barvinsky by any conventional standard, but it was wildly creative and if there’s one season you can get away with using all those bell-like instruments, it’s this one ; ) and I particularly liked your ending.
If I could make one suggestion, it would be a greater sense of melodic continuity. A lot of the handoffs have massive jumps in register, timbre and volume which get in the way of the musical storyline. Thanks for sharing this incredibly colorful entry.
Kevin: Such a different approach – in many parts, this score is magical. I like experimenting with colours and textures, but it’s commonly done phrase by phrase – like a call and response technique – and gradually building to a climax or dropping away in reflective passages. In some places (especially in the opening statement) the colours and textures change so quickly and often that it becomes difficult to hear the melody, let alone get a clear picture of where the music is going.
I’m a little wary of too much pitched percussion. It can sound like a children’s toy (which is often -famously – the desired effect). Some of the effects you’ve created are ingenious – but could it be a little too much?
Some of the string writing – especially towards the climax – is marvellously innovative. The blended woodwind harmonies are lovely. In many ways, this score is reminiscent of Délibes and some of Hans Zimmer’s soundtrack scores.
What a wealth of wild ideas! Sometimes the harmonies are so wide and disjoint that the piece borders on bitonality. It's fascinating to see such a daring re-interpretation. It's hardly an orchestration in the traditional sense, it's more of a personal commentary on the thematic material. It's quite a long way from the late-romantic Barvinsky, but it's great fun to listen to. Very refreshing.
KEVIN: Utterly charming score! It's so hard to find things to improve. Except some things with balance and the BIG PUSH in Measure 44 felt abrupt and there didn't seem to be a build-up to it. But overall, so enjoyable!
Kevin: Amazing job Kevin!
Such a super creative arrangement! A bunch of unique ideas that I'd never have thought of. I think the dynamic shifting at mm.44 is a bit awkward, and I'm really skeptical that those harmonics in the first violins are going to be heard at all against that heavy brass. Even still, such a cool score, I'm really happy you submitted this, Kevin!
What a music-box full of jewelled curiosities! So much air & light. & that extra bar before B is surprisingly telling in drawing out the tension.
I would suggest a more liberal use of tenor clef in the bassoons & using natural harmonics in the strings where possible (e.g. in the violas at C, the G-touch-4 is a natural harmonic on the G string & the E-touch-4 is a natural harmonic on the A string – albeit not exactly in line with equal temperament, but still safe).
In bar 44ff do you mean unmeasured tremolo in the strings? If so, you should use at least 3 slashes, even on beamed notes like quavers.
This is such an inspiring orchestration! It really made me smile 🙂 I like the delicacy and tip-toeing. No one needs a massive tutti here and indeed you stayed true to your style all the way through, well done! Although the beginning of section D felt a tiny bit to heavy in comparison to the rest of your interpretation. But maybe that was just the sound set.
Wow 🙂 . Such a different soundscape from other entries! I like the use of harp / celeste / vibraphone / glockenspiel. Also the way you sustain some elements of the solo line (e.g. 6 bars after B).
I'm not sure that the moving artificial harmonics can be played legato. They can be quite hard to pitch accurately, and for cellists who don't use thumb position much they can be quite painful until the player gets used to it. Many of the pitches are playable as non-harmonics. Maybe con-sordini would be an alternative? [I acknowledge that this would change the timbre, which is something you've obviously considered very carefully!]
This is one of the most interesting interpretations I've heard in a long time! I have a couple of points I'm skeptical about how well little details might work, just knee jerk reactions I haven't reflected on yet- but VERY creative! I haven't even heard what Thomas said yet (I can't wait!) but I was so excited I just had to say how impressed I was before I even hear Thomas's reaction!