an interview by Jens Kürschner
For the interested layman: What is an arrangement?
We speak of an arrangement, whenever an existing composition is transformed into another form. For example, a piano work can be arranged for orchestra, or an orchestral work can be arranged for a rock band - or if there is only a tune with chord, you have to come up with an accompaniment that can be played by musicians.
A special kind of arrangement is the so called piano reduction, where an orchestral setting is reduced in a way that it can be played by a single pianist but still represents all the essentials of the work - a piano reduction is needed for a so called répétiteur accompanying the singers during opera rehearsals where it is obvious that not the whole orchestra can take part all of the time.
How would you describe your way of working?
Needless to say that it differs depending on the source material. As a rule, I start by listening to the composition and/or studying the given notation, trying to become as familiar as possible with the composer's world of thought. Then I begin the actual work and start to arrange: Most notably I try to find small incisive motives in the source material that I can expand on and process contrapuntally.
Wouldn't you say that arrangements are in some cases very much like "painting by numbers"? How much creativity can you bring into your work?
This also depends very much on the source material. Principally it can be said: The less is determined, the more own creativity I can (and must) bring into my work - as you can imagine. But a good arranger always succeeds in putting his mark on the arrangement - sometimes more, sometimes less subtle...
Which arrangement project was your personal highlight so far and why?
From the arranger's point of view, I guess that was "Din Daa Daa Goes Classic" (Brandenburg Symphonics with George Kranz), because I could really have some fun and take artistic licence since only the orchestra accompanied the singers and I did not have to make allowances for a band. But all other projects were thrilling, too - you can say that I always try to make EVERY project a highlight...
What distinguishes your arrangements? Why should I chose you?
I think my biggest strength is that on the one hand my arrangements carry my distinctive fingerprint, characterized amongst other things by a strong tendency towards witty contrapuntal work - and that on the other hand I am very good at putting myself in the composer's position and understand his or her music. Thus a precisely fitting yet unique arrangement comes into existence.
Finally, some particular recommendation concerning good arrangements?
Nelson Riddle's arrangements for Frank Sinatra's Capitol concept albums, for instance, are great - I highly recommend "Frank Sinatra Sings For Only The Lonely".
Joby Talbot's work for The Divine Comedy is also wonderful - I recommend listening to "Absent Friends".
Peter Gabriel's cover album "Scratch My Back" with arrangements by John Metcalfe is also excellent.
And of course I have to mention the great Van Dyke Parks - just listen to his string arrangements for "All I Want Is You" by U2, especially the postlude is terrific!
We speak of an arrangement, whenever an existing composition is transformed into another form. For example, a piano work can be arranged for orchestra, or an orchestral work can be arranged for a rock band - or if there is only a tune with chord, you have to come up with an accompaniment that can be played by musicians.
A special kind of arrangement is the so called piano reduction, where an orchestral setting is reduced in a way that it can be played by a single pianist but still represents all the essentials of the work - a piano reduction is needed for a so called répétiteur accompanying the singers during opera rehearsals where it is obvious that not the whole orchestra can take part all of the time.
How would you describe your way of working?
Needless to say that it differs depending on the source material. As a rule, I start by listening to the composition and/or studying the given notation, trying to become as familiar as possible with the composer's world of thought. Then I begin the actual work and start to arrange: Most notably I try to find small incisive motives in the source material that I can expand on and process contrapuntally.
Wouldn't you say that arrangements are in some cases very much like "painting by numbers"? How much creativity can you bring into your work?
This also depends very much on the source material. Principally it can be said: The less is determined, the more own creativity I can (and must) bring into my work - as you can imagine. But a good arranger always succeeds in putting his mark on the arrangement - sometimes more, sometimes less subtle...
Which arrangement project was your personal highlight so far and why?
From the arranger's point of view, I guess that was "Din Daa Daa Goes Classic" (Brandenburg Symphonics with George Kranz), because I could really have some fun and take artistic licence since only the orchestra accompanied the singers and I did not have to make allowances for a band. But all other projects were thrilling, too - you can say that I always try to make EVERY project a highlight...
What distinguishes your arrangements? Why should I chose you?
I think my biggest strength is that on the one hand my arrangements carry my distinctive fingerprint, characterized amongst other things by a strong tendency towards witty contrapuntal work - and that on the other hand I am very good at putting myself in the composer's position and understand his or her music. Thus a precisely fitting yet unique arrangement comes into existence.
Finally, some particular recommendation concerning good arrangements?
Nelson Riddle's arrangements for Frank Sinatra's Capitol concept albums, for instance, are great - I highly recommend "Frank Sinatra Sings For Only The Lonely".
Joby Talbot's work for The Divine Comedy is also wonderful - I recommend listening to "Absent Friends".
Peter Gabriel's cover album "Scratch My Back" with arrangements by John Metcalfe is also excellent.
And of course I have to mention the great Van Dyke Parks - just listen to his string arrangements for "All I Want Is You" by U2, especially the postlude is terrific!
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