DG's right.
It's why I referred to the Wall of Sound as an orchestration technique, and not a region specific genre. As for best players, this discussion could go on and on. Players are players, and regardless of country, develop their skills according to their ability, not their place of birth. As i understand it, for example, there are many who acknowledge the horn section from the LSO as the 'best' in the world, and the string sections from the Russian Phil the same, along with the Vienna Phil, with many eastern european orchestras having a strong claim to the best W/W sections. (I've just had a flashback of the Brass parts written for the music to 633 squadron. Fantastic.)
That orchestration technique that's created the urban myth that is the 'Hollywood' or LA 'sound', is just that. A technique. (Take one Saint-Saens organ symphony second movement. Raise all dynamics one level. Add more brass players. Easy.)
The discussion about who's the best player is irrelavent, but the technique of 'wall of sound' or 'LA' orchestration has it's roots and placement in Continental European composition. It's probably true to say it will develop further as a genre on it's own with constant reference and the PR of constant use in discussion, but i have to be frank, for me, the 'LA' or 'Hollywood' sound is an illusion and accompanying label, from those who don't understand orchestration, and just want to write 'Star Wars' music. (No offence to JW)
Regards,
Alex.
I mean no offence to my american compatriots when i say this, but i have wondered before if the 'volume' generated (in general) by american musicians is a result of the strongly competitive nature of the culture, and the desire to be chosen for a seat in an ensemble over others. And the type of music seemingly preferred by film producers and audiences makes me wonder if the strong dynamics so prevalent is a reason for this.
It's why I referred to the Wall of Sound as an orchestration technique, and not a region specific genre. As for best players, this discussion could go on and on. Players are players, and regardless of country, develop their skills according to their ability, not their place of birth. As i understand it, for example, there are many who acknowledge the horn section from the LSO as the 'best' in the world, and the string sections from the Russian Phil the same, along with the Vienna Phil, with many eastern european orchestras having a strong claim to the best W/W sections. (I've just had a flashback of the Brass parts written for the music to 633 squadron. Fantastic.)
That orchestration technique that's created the urban myth that is the 'Hollywood' or LA 'sound', is just that. A technique. (Take one Saint-Saens organ symphony second movement. Raise all dynamics one level. Add more brass players. Easy.)
The discussion about who's the best player is irrelavent, but the technique of 'wall of sound' or 'LA' orchestration has it's roots and placement in Continental European composition. It's probably true to say it will develop further as a genre on it's own with constant reference and the PR of constant use in discussion, but i have to be frank, for me, the 'LA' or 'Hollywood' sound is an illusion and accompanying label, from those who don't understand orchestration, and just want to write 'Star Wars' music. (No offence to JW)
Regards,
Alex.
I mean no offence to my american compatriots when i say this, but i have wondered before if the 'volume' generated (in general) by american musicians is a result of the strongly competitive nature of the culture, and the desire to be chosen for a seat in an ensemble over others. And the type of music seemingly preferred by film producers and audiences makes me wonder if the strong dynamics so prevalent is a reason for this.