Alex Weidmann

Welcome all! I've gone back to the Late Baroque with my latest orchestration. I chose Rameau's Allemande in A minor, because I don't think it's been orchestrated before. (At least I can't find another orchestration.) I made a controversial choice to soup up the tempo: so I'd be interested to know whether any of you have different opinions on this? I had to write a short linking passage at Bar 37; otherwise the transition to the next section sounded too abrupt. Haven't put in the repeat of the second half as yet. I wonder if you think I should? And if so, what instrumentation would you suggest. Started putting in slurs; but haven't finished yet, because it's a long tedious job! Hope you enjoy listening, Alex Rameau - Allemande in A minor (orchestration) #19.mp3 Rameau - Allemande in A minor (orchestration) #19.pdf

Hi Henry, Well done on your revision of this major work: it must've taken such a long time to do! I'm very impressed with all the detail in your structural plan. (Don't think I could stick to something like that, as I tend to write organically by instinct alone.) Are you hoping to get a performance by real musicians? Alex

I corrected some embarrassing errors in my score today, and put all the slurs in. Hopefully a big improvement!

A delightful work with rich harmonies and lush strings. The vocals are sometimes a little buried in the mix, and hard to make out. It sounds like you're using quite a strong reverb: so it might be an idea to reduce the wetness level. Good work though. I am interested to know what the graphic means? Looks like a rabbit being consumed by a plastic apple.

Welcome all! Here is the fourth and final movement from my orchestration of "A Fairy Tale" by Frank Bridge. This one was particularly difficult to orchestrate, because it was very pianistic. I had to add two short linking passages of my own; otherwise the transitions sounded too abrupt. Not sure I've done a very good job; but anyway, I'll let you judge... I am stretching the upper range of the oboes, clarinets and trumpets, and may have gone a bit too far with this? These high notes sound pretty good in the midi rendition; but maybe they would be too screechy in real life? Bridge - A Fairy Tale 4. The Prince (orchestration) #50 (midi).mp3 Bridge - A Fairy Tale 4. The Prince (orchestration) #56 (score).pdf

Thanks Kyle! I have to be honest, I didn't put much effort into this orchestration. Just threw it together by instinct alone. Glad you enjoyed the result! Alex

Hi Luis. It's good to limit yourself in this way, as it forces you to be creative, and I think you've pulled it off well. I've found the Glockenspiel quite hard to use, as it's so metallic, it can really stick out. Here I think it works well though. The only thing I would say, is that you rarely, if ever, see chords in the glock. That's because they're difficult to perceive in such a high register. (I did use some in my latest orchestration; but I've been told it's a bad idea.)

Thanks Mark, for the kind words! I have completed all four movements now. Hope they might one day be performed as a tribute to Frank Bridge. An underrated composer in my opinion. Alex

Welcome all. I'm back with more of Frank Bridge's "Fairy Tale". This movement was really fun to orchestrate! I thought tuba and contrabassoon would be good choices for an ogre. Hope you enjoy. Bridge - A Fairy Tale 2. The Ogre (orchestration) #14.mp3 Bridge - A Fairy Tale 2. The Ogre (orchestration) #14.pdf

Thank you so much for the award Peter, and Luis for nominating me. I'm very honoured! 😃

Hi Luis, Many thanks for your lightning fast review! It would indeed be difficult for the vibraphonist to get round those big chords; but I think they are just about playable. A good vibraphonist can do incredible things with just four mallets! I did consider putting those passages in celesta, where the spread chords could more easily be accomplished. As it happens, Benjamin Britten was a student of Frank Bridge. (In fact he was Bridge's only composition student.) After Bridge died in 1941, he was largely forgotten about; until Britten led a revival of his music back in the 1960s or 70s. He seems to have been forgotten again now; though he does have a prolific canon of works. His piano pieces seem to be particularly well suited for orchestration, and they always come out sounding really nice. I posted the first movement of this suite here the other day, and am planning to orchestrate movements 2 and 4 next. Best, Alex

Greetings once more. I've just completed another movement of "The Fairy Tale" by Frank Bridge. This may be my favourite piece so far that I've orchestrated! Have included a proper engraving this time, minus the front matter. Any tips on layout very welcome. The original piano piece had some weird bitonality at Bar 15, which didn't work in an orchestral arrangement. So I had to rewrite that bar, and change some of the pitches. Also added a bit of extra counterpoint in Bar 25. Bridge - A Fairy Tale 3. The Spell (orchestration) #16.mp3 Bridge - A Fairy Tale 3. The Spell (orchestration) #20.pdf

Greetings all! Just wanted to post my latest orchestration. It's another piece by Frank Bridge called "The Fairy Tale" (why does it keep autocorrecting to "The Dairy Tale"?!) I've only tackled the first movement so far (titled "The Princess"). The original piano work is very light: so I've tried to keep it so here. At one point I alternate between pizzicato and staccato in the 2nd violins, to provide a different colour. Not really sure this works? Perhaps I should've stuck with staccato only. The poor doublebasses have nothing to do. I wonder where they could play a role? Perhaps pizzicato would work somewhere? The celli also could do with more material; but not sure where to bring them in? All tips very welcome! N.B. I haven't bothered to write in alternations between the 1st and 2nd flutes, clarinets and oboes as yet. I will add some later, so they don't run out of breath. Bridge - A Fairy Tale (orchestration) #13 (added ZL compressor).mp3 Bridge - A Fairy Tale 1. The Princess (orchestration) #16 (added ZL compressor).pdf

Thanks Mark. Hopefully I've converted you to Koechlin! Many of his pieces can be found on You Tube, as well as an interesting documentary about his life and works.

Nice relaxing piece: reminds me of Vaughan Williams. I could definitely hear the ebb and flow of the ocean waves. I just have one small notational point: from Bar 28, I don't think it's correct to have those full bar rests in the harp. I would replace them with dotted crotchet rests. Would also insert dotted crotchet rests into the upper staff for the same reason (rather than having blank spaces). I'd also be inclined to use cross-staff phrasing slurs across each full bar.