![]() Other doublings or mixtures based on acoustic similarities have become standard, if not to say textbook material. Stravinsky, Pulcinella, 1st movement, number 5, m.The previously mentioned similarity between horns and bassoons in the middle register is often used to achieve a “slimmer,” more focused sound that still retains its horn-like qualities. The use of acoustic analogies has become a part of standard orchestral practice. Stravinsky, Petrushka, “Dance of the Peasant and the Bear,” number 188, m.The very characteristic, stridently penetrating sound (recalling the fact that etymologically “clarinet” means “little trumpet”) is very impressive when used with clear intent.įigure 157 5Īt times, not least in Mahler and Stravinsky, but also in Debussy, two or more clarinets in the high or highest register are used in perfect unison. Strauss, Der Rosenkavalier, 2nd Act, number 26, m.Debussy, Nocturnes, “Fêtes,” number 10Ī deservedly famous, innovative, “silvery” sound combination results from the instrumentation of descending chords that form a leitmotif when the silver rose is presented in Strauss’ Rosenkavalier.įigure 156.In “Fêtes ,” from Trois nocturnes, Debussy seems to introduce a “virtual” guitar by means of string pizzicati, harp and kettledrum.įigure 155 1Īnd Stravinsky imitates the sound of renaissance instruments in his ballet Agon with great sophistication.įigure 154 Strauss, Der Bürger als Edelmann, 7th movement, m.In the same work, Strauss imitates the sound of baroque viols spot on.įigure 153 In his baroque pastiche, the theater music to Molière’s Der Bürger als Edelmann, Strauss exploits the lowest register of the piccolo flute in a way that makes it difficult to distinguish from a recorder (Strauss gave no practical indication of how the instrument is supposed to play the low C).įigure 152 Stravinsky, Symphony in three Movements, 3rd movement, number 169, m.In his Symphony in Three Movements, Stravinsky reveals a baffling similarity between staccato notes played in the same register of piano and trombone.įigure 151 If such examples are too unique to develop further – and the list is virtually endless! – it must be this unique sensitivity to sounds that again and again allows composers to discover similarities and acoustic analogies where they are not immediately evident. Crumb, V ox Balaenae (1971), “Archeozoic,” m.In his chamber piece Vox Balaenae (Voice of the Whale), George Crumb ingeniously imitates the sound of a distant seagull with a cello that plays a technically sophisticated, repeated glissando in harmonics.įigure 150 The same is true of Stravinsky’s razor-sharp imitation of a creaking barrel organ in Petrushka. Strauss’ imitation of a bleating flock of sheep in Don Quixote – first calm, then agitated – is a gem, of course.įigure 147 Vivaldi, The Four Seasons, “Autumn,” 3rd movement, m.The solo violin imitating a hunting horn in Vivaldi’s “Autumn” (from The Four Seasons) still has an astounding effect after nearly 300 years.įigure 146 #THE SYNTHESIZER HAS VIRTUALLY NO STANDARD REPERTOIRE SERIES#Below a series of famous and striking examples. In the course of history, composers with highly developed imaginations and a refined ear have been similarly stimulated by sound imitation, something that often has led to innovative effects. Many pianists gladly admit to using the sounds of the orchestra as an imaginary background to accomplish the right sonority, character and touch in certain passages. The idea of imitation can stimulate the imagination in special ways. Strauss claimed that one must be able to “orchestrate a dinner party so that the difference between knives and forks can be heard.” For the experienced, discerning orchestrator, the word is actually a hallmark: the ability to imitate any acoustic phenomenon by using the possibilities offered by the orchestra is in itself proof of having mastered the medium. The term imitation – to mimic something – may have a negative ring to it, but here it is used as a neutral term describing the intentional use of similarities. Or, for example, sounds from the environment or sounds that appear to come from far away. This may be orchestral imitation of specific overtone spectra or instrumental tone colors, the piano’s sustain pedal, acoustic reflection or echo, etc. Because of the overwhelming richness of tone colors and sound combinations of the modern orchestra, imitation in the broadest sense has become a central part of its idiomatic repertoire. Previously, terms such as imitation, echo and analogy have been used to describe similarities between sounds. ![]()
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