| re: On PASTICHE: is anyone trying to write a new 'Golden Age' musical these days? Would we pay to see one? | |
| Posted by: PJ 11:22 am EDT 08/27/19 | |
| In reply to: On PASTICHE: is anyone trying to write a new 'Golden Age' musical these days? Would we pay to see one? - GrumpyMorningBoy 10:43 am EDT 08/26/19 | |
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| I'm making my way through this thread (and loving it). GMB's posts continue to be one of my favorite things about this community. While composers certainly control the sound of their music, I'd posit that arrangers and orchestrators have an equal, if not larger, influence on the overall sonic identity of a piece. Further, a large part of the disappearance of pastiche may be attributed to the economic needs/constraints of the production. The larger and more "broadway!/acoustic" composition of the arrangement/orchestration, the more likely it will be to fall on the ear as "pastiche," if indeed that's the goal. What I wouldn't give to hear the Dear Evan Hansen score kitted out in the style of Robert Russell Bennett or Jonathan Tunick. Would it be good? Probably not. Would be an interesting experiment? Absolutely. BCEFA: Consider a "Will It Pastiche?" fundraiser concert, pls. To answer one of your original questions: today's most likely candidates for Keeper of the Pastiche Flame (to my ear) are probably Jeanine Tesori ("Millie") and David Yazbeck, both talented compositional mimics and strong composers in their own regard; Matthew Sklar (Leavel's "The Prom" numbers); and perhaps Paul Gordon (whom I regard as a slave to melody, like Rodgers). PJ |
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