Despite the revisions, both structural and
orchestrational, Macbeth still falls well short of the later tone poems in its sonic clarity.
Had Shostakovich already made his
orchestrational decisions before he wrote Draft IIB?
Musicians' lack of variability among the graphed responses to the three orchestrations may have indicated their belief that the
orchestrational differences among the pieces should not have greatly affected their tension responses.
But the inventiveness and
orchestrational brilliance of this work could be grasped by anyone.
"You had to come up with an
orchestrational palette that would cut through all the sound effects," he explains.
(20.) Although Adams (or his editors) does not mark the boundaries of these sections with double barlines or boxed measure numbers, there is nevertheless a change of tempo and texture at measure 324, and a rather dramatic
orchestrational and textural shift at measure 401 that clearly indicate these points as structural junctures.
In the Versuch, Adorno, too, looks back to Lohengrin for the exemplary instance of Wagner's
orchestrational innovations.
Tirro's case in point is the Dave Brubeck Octet, whose music "displays many of the same concerns as the music of the Miles Davis nonet," especially "similar
orchestrational ideas," although "the New York musicians were totally unaware of Brubeck's endeavors" (pp.
But the melodic and
orchestrational inventiveness is ample compensation and the Orchestra of Opera North certainly displayed its strength in depth.
George Bruns, a former student of Baker's who was writing music for one of Disney's early forays into TV drama, "Davy Crockett" starring Fess Parker, asked Baker for
orchestrational help while that show was in production in 1954.
But also harmonic, contrapuntal, and finally
orchestrational aspects - -: that way one would end up with four entire volumes on one work, indeed for every symphony, comprising all of theory, indeed one couldn't get by with less (harmony, counterpoint, form, orchestration).
Campbell gives information on Jens Peter Jacobsen's Gurrelieder in his article "Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the Legacy of Wa gner," finding a parallel between Jacobsen's glance toward the future in this text and Schoenberg's original
orchestrational idiom in part 3, by which the older Wagnerian context of the oratorio is dispelled.