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| Orchestra and orchestration etc | |
| Posted by: young-walsingham 10:45 am EDT 07/18/18 | |
| In reply to: The new CAROUSEL recording..Glorious! - bmc 06:08 pm EDT 07/17/18 | |
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| Has a new sound been created for this production or is it true to the original orchestration and dance music? Is the theatre orchestra augmented for the recording? I have looked at the Playbill on line and see lots of music credits but I would be grateful for opinions regarding this. | |
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| re: Orchestra and orchestration etc | |
| Posted by: AlanScott 11:01 am EDT 07/18/18 | |
| In reply to: Orchestra and orchestration etc - young-walsingham 10:45 am EDT 07/18/18 | |
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| The orchestrations are new. Sometimes they are fairly faithful to those by Walker and his associates, sometimes less so. Stylistically, they are generally appropriate. At least some of the dance arrangements are new and decidedly inferior to the originals. I haven't yet listened to the second-act ballet. I have very mixed feelings about the recording. Some very good singing actors are heard, but I'm unhappy with many of the musical choices. I mean both performance choices and the changes and cuts. Weirdest musical choice may be the decision to really obey the rest in the score between "real" and "nice" in "This Was a Real Nice Clambake." It's totally bizarre-sounding. And while the rest is in the score, Rodgers clearly didn't want it to be sung (as it is on the current recording) as: This was a real. Nice clambake. They do it like that every time. It sounds like two separate thoughts. Did no one involved here listen to the original cast recording? If Rodgers, a notorious stickler for having his music sung just as written, didn't have it performed that way in the original production, it seems clear he didn't want it that way, notwithstanding the rest in the score. Haven't seen the production, but I can't say that the recording makes me especially want to see it. |
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| re: Orchestra and orchestration etc | |
| Posted by: Michael_Portantiere 12:04 pm EDT 07/18/18 | |
| In reply to: re: Orchestra and orchestration etc - AlanScott 11:01 am EDT 07/18/18 | |
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| Alan, that is so interesting, what you wrote about "This was a real nice clambake." At the time of the New York Philharmonic concerts of CAROUSEL with Kelli O'Hara, Nathan Gunn, et al., someone in the ensemble told me they spent a lot of time in rehearsal trying to observe the rest in that phrase the way Rodgers intended it -- but, unless my memory is off or I misunderstood him, I thought he said the rest in question was between "clam" and "bake," not between "real" and "nice." Does the score have rests in both places? This hearkens back to an old ATC thread in which I took Carrie Underwood to task for singing "The hills are alive.....with the sound of music" in that unfortunate TV production of TSOM. Some people here immediately jumped on me and pointed out that there is a rest at that point in the score. I countered that neither Mary Martin nor Julie Andrews observe any kind of a rest at that point in the song. Perhaps Rodgers used these rests not because he wanted any sense of even a brief pause at those points, but just to help with enunciation -- so that, rather that having the singer elide the "v"sound at the end of "alive" with the "w" sound at the beginning of "with," Rodgers wanted crisper articulation of those consonants. Does this theory sound sensible to anyone? Because I can't think of any other reason to have rests in the places cited. |
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| re: Orchestra and orchestration etc | |
| Posted by: ashleylm 01:01 pm EDT 07/18/18 | |
| In reply to: re: Orchestra and orchestration etc - Michael_Portantiere 12:04 pm EDT 07/18/18 | |
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| Don't know about the conductor's score, but the published vocal score score does have both a rest after "real" and a rest after "clam." (And again after "real" in "real good time.") | |
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| re: Orchestra and orchestration etc | |
| Posted by: Michael_Portantiere 01:42 pm EDT 07/18/18 | |
| In reply to: re: Orchestra and orchestration etc - ashleylm 01:01 pm EDT 07/18/18 | |
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| Thanks! | |
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