Memorable Orchestration

[John H White]

Does anyone else know a piece of music, unsung or otherwise, that is apparently only memorable for its orchestration. My example is Cherubini's Funeral March. You'll find it at the beginning of the Naxos CD of his Requiem. There doesn't seem to be much of a tune but I still enjoy the instrumentation.

[monafam]

This is a case where most of you are so far past me in terms of your knowledge, that I almost have no right to post.  :-)   

I am pretty sure that this is not where you are headed with your thread (so I apologize if this is just a tangent), but there are a couple of works that I can think of where nothing much appears to be going on and then you get this beautiful blast of music for a few moments ...

An A. Part Cello Concerto -- the last three notes make you wonder where that was the previous 2 3/4 movements!   Also, some Hovhaness works give me that same vibe.

[mbhaub]

I think almost anything by Joseph Marx fits this description. Incredibly gorgeous ochestral sound, but nothing sticks in the head -- even for a moment. This is a trait of many late-romantics. That generation sure understood how to write for the large orchestra, but it was all glitz and glamour and the musical substance was lacking. This goes for Wetz, Bischoff, Bendix, and even Weingartner and others. Many of the CPO releases feature these orchestrators. Bax probably fits in here, too. Having said that, I still love Bax and company. Not everyone could be a Beethoven or Brahms, and although good tunes go a long ways towards memorability and immortality, good orchestration can sure provide sound junkies (like me) what they're after. Maybe it's musical junk food, but sometimes that's what you need.

[John H White]

I seem to remember being told somewhere that its much easier to write a passable symphony than a passable string quartet because an uninspired composer can cover up his mediocre  music with  colourful orchestration, whereas a poorly written string quartet is exposed in all its stringed nakedness.

[JimL]

I think almost anything by Joseph Marx fits this description. Incredibly gorgeous ochestral sound, but nothing sticks in the head -- even for a moment. This is a trait of many late-romantics.

Maybeso, but that 2nd PC of Bortkiewicz (1923) has both great tunes and very effective orchestration!  However, I think the 3rd Concerto may be a little more like what you say (although I actually do remember the themes!)

[Alan Howe]

I think almost anything by Joseph Marx fits this description. Incredibly gorgeous ochestral sound, but nothing sticks in the head -- even for a moment. This is a trait of many late-romantics. That generation sure understood how to write for the large orchestra, but it was all glitz and glamour and the musical substance was lacking. This goes for Wetz, Bischoff, Bendix, and even Weingartner and others. Many of the CPO releases feature these orchestrators. Bax probably fits in here, too. Having said that, I still love Bax and company. Not everyone could be a Beethoven or Brahms, and although good tunes go a long ways towards memorability and immortality, good orchestration can sure provide sound junkies (like me) what they're after. Maybe it's musical junk food, but sometimes that's what you need.

I find this level of generalisation quite incomprehensible. Marx's Herbstsinfonie, whether you actually like it as a piece or not, is impossible to get out of your head once heard (although I agree that his PC is lush, but somehow anonymous); Wetz's music is far more than mere glitz and glamour (some might argue it's actually rather a pale after-echo of Bruckner, although still full of feeling); Bendix's symphonies are genuinely original, although badly served in the one and only recording of them, and he wrote a superbly attractive and moving PC; and Weingartner wrote some seriously memorable and attractive stuff (try the first two symphonies). As for Bischoff - well, he is just plain dull, actually! As for Bax, I would have to challenge very seriously any contention that the composer of Tintagel, one of the great tone poems of the twentieth century, is a mere purveyor of junk food.

Beethoven and Brahms were two of the musical greats. But great music, such as Tintagel, doesn't have to sound like them or follow their rules. I suppose Respighi's Roman trilogy is fairly empty as music, but what enticing sonorities, what utterly memorable tunes! Try going to bed after listening to them loud on your headphones!

[sdtom]

I think I understand.  Rimsky-Korsakov, for the most part, is quite memorable, at least for me.  Wonderful orchestrations and I can remember the melodies.  Glazunov, on the other hand, is much weaker in the melody department, and I do have 25+ CD's of his.  I think this is a good example.
Thomas

[Alan Howe]

I must defend Glazunov: he is an exceedingly skilful tunesmith. How is it that I can remember his VC without having to put on the CD?

[FBerwald]

Lets not forget Bach's Prelude and Fugue in D major splendidly Orchestrated by Ottorino Respighi.

[Peter1953]

A very unusual choice. The “Hoogmis” (High Mass, or Messe Solenelle) by the Belgian composer Peter Benoit (1843-1901), and then in particular the 5th movement which is “Benedictus”. What a marvellous role for the organ. This Mass made the first time I heard it an unforgettable impression on me. What an orchestration too.
I don’t even like church music. It was some 15 years ago when I heard an enthusiastic presenter on the radio talking about the very subtle role for the organ in this Mass by Benoit. I was driving on the highway, but immediately went to a parking place to listen to this work. I was astonished. In those days I didn’t surf on the internet to find CDs, maybe it wasn’t possible yet. I was searching for this Mass everywhere, and finally found the disc in a Brussels CD shop. I was so happy. It’s a live recording (May 1993), by the BRTN Philharmonic Orchestra Brussels, with Donald George as a tenor and conducted by Alexander Rahbari, on the Belgium Discover International label.

If you don’t like church music, buy this disc! You will be cured. That organ…

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After posting this reply I’ve noticed (mdt.co.uk) that the Mass is released again in 2007 on the Talent label, showing new artwork of course. Never heard of it before, but never mind, the performers are the same. It’s now very easy to order it compared to 15 years ago.

[Amphissa]

 
Is Ravel's "Bolero" anything but orchestration? Yes, wonderful orchestration, but is there anything to it otherwise?
 

[TerraEpon]

Is Ravel's "Bolero" anything but orchestration? Yes, wonderful orchestration, but is there anything to it otherwise?

Am I the only one who thinks that the two melodies in that piece are fantastic? I mean, yeah they play over and over, but...
And there IS no denying the wonderful orchestration.

And the final movement of Glazunov's VC is certainly a keeper in the memory for me as well.

As for 'unsung only memorable for the orchestration', well hmm....it's hard to seperate that for me really.

[monafam]

I think I have trouble differentiating as well.  I believe when I hear memorable orchestration, I think I'm hearing something "good" to my ears.  Maybe it's my predilection to symphonic works -- they are all essential orchestral for me -- that keeps me from proving deeper analysis/opinion.

[Ilja]

Maybe a little odd, but one of my favorite mind games is to hear an orchestral piece and try to envision a chamber ensemble version of it. Usually, the less conspicuous an orchestration is, the easier the game becomes. Bruckner is near to impossible, Beethoven and Raff are fairly easy. I haven't begun with Marx, yet.

Talking about Marx, I think we need to make an exception for the Castelli Romani; that's as lushly melodious as any of his contemporaries.