Schönberg, six piano little pieces orchestration

Hello,

About six years ago, I orchestrated Schönberg’s Six Little Pieces for Piano.

I only uploaded one of them to the “Writer’s Block and Suggestions…” section, since I wasn’t quite sure what I was doing.

Now I know a little more about orchestration and how to approach different styles. So I’d like to share the orchestrated version of all six pieces.

Thank you. Best regards.

Schoenberg.pdf

Hello @Luis Hernández !

I’m not able to write a „review“ today since therefore I would like to explore the six little piano pieces in more depth in its original version to compare them with your orchestration.

So for now, all I can say is that I really enjoyed them and consider them good examples of orchestration—especially for someone like me who has no experience yet. The great thing about them is that the pieces are so short yet still expressive—so there should be no excuse not to go even deeper into the details (if the time allows me).

Now, somewhat off-topic: Two days ago, I attended a performance of Dvořák’s “Stabat Mater” with a full orchestra and a massive choir (430 singers). This was a real fun, not only because of the bombastic sound, but also because I was able to follow Dvořák’s orchestration live.

It is the total contrast to the „six little piano pieces“, since he stays very long on the harmonies and even single tones – letting them „rotate“ through the entire orchestra. At one point, you hear and see the cellos playing a chord while the double basses accompany them with pizzicato. A moment later, you can still hear the chord, but you see that the cellos have stopped playing, and after a moment of surprise, you realize that the horns have taken over and the pizzicato has been reinforced by the timpani. Yet the transition was so seamless that you didn’t even notice the change in instruments, only a slight shift in timbre.

And by the way, the first movement of the “Stabat Mater” begins with exactly one note being played for nine measures, passing through all the instruments before the main theme begins. That reminded me of one of your recent posts: “What can I do with two notes?” 🙂

Of course, nothing compares to hearing orchestras perform live.

Dvořák’s style is the complete opposite of Schoenberg’s, including their orchestral works.

Dvořák embodies expansive, monumental Romanticism—even more so than Mahler, for example.

But atonality deliberately avoids that and aims for conciseness, which is why it doesn’t use large orchestras.

I really enjoyed this! I think you capture the "voice" of Schoenberg that he has in most of his orchestral works. I said this in a previous review, but orchestration is really subjective....so here are my suggestions:

First piece

• I think the oboe is suppose to be piano as well (it's not marked in the score). I also think the pickup Trumpet run can be transferred to the clarinet

• I don't think the 1st trombone needs to double the cello/horn in the 4th bar.

• In measure 7, unless the orchestra has 5 timpani drums (or an EXTREMELY good player who can quickly adjust tuning) that is going to be difficult

• In measure 8, that trumpet part looks questionable...that 32nd note might be messy

• In bars 13-14, probably could combine the cello/bass part to be played by divided cello....helps with thinning out the sound since it's marked p

• Generally, it's really hard for brass players to play pp or ppp when there is a moving/active part with leaps. I would give the trombone/tuba part to a bass clarinet and/or bassoon near the end.

Second piece

• I would've used bassoons instead of horn in the 2nd measure. They sound more "dry" staccato and will blend with the pizzicato

• I'm assuming "ord" means Arco? make that clear in the string parts

• Trombones don't usually read in treble clef. I would change that to a tenor clef in the last measure.

Third piece

• I would just have the tuba play without doubling from trombone. The passage is already pp and tuba has a more rounder sound for that

• I think the pppp markings are a bit much

Fourth piece

• Measure 10: that bassoon/trumpet figure is going to be very tricky to play in unison. I would just have trumpet play it (even though it would be a challenge)

Fifth piece

• From how it's written in the score, it looks you only want half of the 2nd violin section play measures 8-11?

Sixth piece

• There is a lot of pp and ppp in here...but a lot of instrument doubling - for example bars 5-6 cello/bass doubling bass trombone/tuba AND all bass instruments the last measure.

• I would do mutes for all strings and brass in this piece. Maybe even solo strings to reduce the sound. The last two eight notes could easily be just a single bass player doing pizzicato