In a message dated 6/19/06 1:01:39 PM, [EMAIL PROTECTED] writes: << From: Christopher Smith <[EMAIL PROTECTED]> Subject: Re: [Finale] "Kiss Me, Kate" books In addition, as I have already said elsewhere, I don't think four strings and four brass really do the score of Kiss Me Kate justice, but that was a budgetary decision, not an artistic one. >>
Yes, 95% of the orchestration changes taking place in recent years on B'way are for the budget. Part-reason for Don Sebesky's circus o' mute changes is to help give a small group a "larger-group" effect; the producer will sometimes have the arranger/orchestrator go back and make changes just to "fatten up" the sound for that reason, so the players are working twice as hard to make up for the choice of profit margin. (Yes, I'd agree for the other 5%, bringing aspects of the show more up-to-the-times, topical and stylistically workable.) It's understandable when struggling community productions must use fewer players; B'way is making profits hand-over-fist, and does not have that excuse. The misconception that it's OK to use the samplers etc. for audiences comes from not realizing, or not agreeing, that the effect of live players is a qualitatively different experience. Decades of less and less music education, covered orchestra pits (or music fed in from remote locations), horrible soundboard mixing, have taught audiences to hear shows that way as a norm. The answer is more public-awareness campaigns, in the schools and in professional settings, where the audience hears and sees more of the live music aspect of the show. Then they'll realize that the live music is an important component of the total B'way show experience, part of the sights, sounds, smells... smells? -Steve S NYC _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
