The Art of Orchestration

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Saturday, October 19, 2013

Composers didn't always specify the instruments required to play their music. As a result hodge-podge pick up bands were common. In the 18th century, things changed and composers emphasized notation and the specification of particular instruments. This edition of All Ears looks at how music written for piano is re-purposed for string quartet, jazz quartet and symphony orchestra.

Playlist

Pavane for a Dead Princess
Maurice Ravel
Angela, Hewitt, piano
Hyperion

Pavane for a Dead Princess
Maurice Ravel
Cleveland Orchestra
Pierre Boulez
Deutsche Grammophon

Sonatine
Maurice Ravel
Angela Hewitt
Hyperion

Sonatine
Maurice Ravel
Paula Robison, flute
Scott Nickrenz, viola
Heidi Lehwalder, harp
Vanguard

Mephisto Waltz No. 2
Leif Eve Andsnes, piano
Angel/EMI

Mephisto Waltz No. 2

Franz Liszt
Gewandhausorchestra Leipzig
Kurt Masur, conductor

Summerland
William Grant Still
Kelly-Hall Tompkins, violin
Craig Ketter, piano
MSR

Summerland
William Grant Still
Videmus
New World

Holberg Suite
Edvard Grieg
Ivan Davis, piano
Audiophone

Crepuscule with Nellie
Thelonious Monk
Thelonious Monk, piano

Crepuscule with Nellie
Thelonious Monk
Thelonious Monk, piano
John Coltrane, sax
Ahmed Abdul-Malik, bass
Shadow Wilson, drums
Blue Note

Orchestral Variations
Aaron Copland
London Symphony Orchestra
Aaron Copland, conductor
CBS

Piano Variations
Aaron Copland
Alan Marks, piano
Nimbus

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