Why so much emphasis on arrangements having to sound good, or to be faithful to the composer? 'Sound good' is an acquired taste, and in different ambiances it must mean different things. ******************************* Since I started this thread, let me clarify my original post: It's been my experience that most of our "clan" are pretty open-minded when it comes to musical taste. Most would agree that arrangements, especially for school groups, are worthwhile in that it exposes kids to music that they otherwise would never play - whether the arrangements are Isaac or Leidig orchestral "water-downs" or warhorses transcribed for Band. Some of these work REALLY well for band - almost anything von Suppe/Fillmore, and as another lister wrote, most of the reworkings by Caillet (L'roi D'ys comes to mind). Not everything Hindsley did works out well IMHO, but at least he (mostly) limited himself to things that "could" work well. As a 28 yr. HS Band guy, I personally like what he did with Don Juan, however "Till" just wouldn't ( to me) be worth the effort - or ink. HOWEVER, some pieces just (again to me) just lose their integrity out of their conceived context. I can easily understand how Kendall would have blanched at Egmont for flute choir. (ugh!) However, as some things might work for accordians, I have a hunch that Lady of Spain would work equally well for Horn Choir. It's not the medium per se that works or doesn't, but the source material. bh in MT (Hey! It's Spring! Finally!!!!!!)
--------------------------------- Don't be flakey. Get Yahoo! Mail for Mobile and always stay connected to friends. --------------------------------- We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
