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@William said:
Julie
I agree it is a good idea to actually hear orchestration examples rather than just study them silently in a book.
I also agree about the balance and individual audibility of Rimsky-Korsakov's orchestration, but disagree with the idea that his music is too vertically oriented. Two examples that come to mind: March of the Nobles and Capriccio Espagnole. In both of those, even though the orchestation and voicings in a vertical sense are masterfully done, the immediate impression is one of pure melody with accompaniment - a very horizontal sound moving dynamically forward. Especially the Espagnole - it moves to a tremendously energetic climax. The opposite of stagnant vertical harmonic structures.
Just a minor disagreement though - always interesting to hear different opinions especially about Rimsky-Korsakov.
@William said:
That reminds me of what Varese said about Brahms vs. "great orchestrators." He said that in Brahms, no one comments on the brilliant orchestration because they are simply thinking about the music. On well-known orchestrators people always say "what a magnificent orchestration" as if it is something that sticks out, divorced from the music. With Brahms, it is perfectly integrated into the entire basic conception.