Why I don't really like orchestral music?
Even today, orchestral music is all around us. We associate it the most with classical composers whose works are still being performed worldwide. It is also very prominent in film music and music for media. Many people who are primarily interested in music as listeners are perhaps not familiar with virtual orchestration. This is replicating the sound of a symphony orchestra by using virtual instruments. It enables composing of orchestral music also to those who don’t work traditionally: by writing down music. Modern orchestral libraries are so sophisticated that it’s sometimes difficult to tell the difference between music created with these and the live performance.
Despite everything, I have to admit that I don’t really like orchestral music. From nearly 300 original compositions I have finished thus far, only a small number are completely orchestral in nature. Although I often use certain orchestral sections (primarily the strings), generally I prefer other musical instruments and sound colors. I’m also an advocate of minimalism and firmly believe that music of a more intimate character, that uses relatively few musical elements, can often have even greater emotional and aesthetic impact to the one opposite. This doesn’t mean that orchestral music itself cannot be minimalistic. However, it tends to be in the other direction. After all, a typical symphony orchestra includes between 80 and 100 instruments and players.
Composing orchestral music was for a long time reserved for those writing music for others. But for us not having traditional music education, myself included, this is not a preferred way of working. We need to have a bond with an actual instrument and immediate sonic response. This is what the virtual orchestration is all about, although a number of composers use notation programs for writing music. I have read somewhere how certain composers from the classical period weren’t particularly skilled instrumentalists, sometimes restricted to mere basics. Although it’s not necessary to be a proficient instrumentalist to be a good composer, for me these two areas constantly intertwine and complement each other.
I have already written about musical instruments that are completely self-sufficient, like piano, classical guitar, or a synthesizer. A piece for a solo piano most often include all musical elements and can stand on its own. Contrary to this, most instruments that are part of an orchestra rarely play on their own and are typically part on a larger ensemble. Therefore, composing orchestral music is somewhat like a jigsaw puzzle: you don’t see the larger picture at first. Instead, you need to build it piece by piece. Being a pianist, keyboardist, and guitarist, this method of working was always somewhat strange to me, although modern virtual instruments bring certain shortcuts there.
Speaking of virtual instruments, one of traits of virtual orchestration is “obsession with realism”. Indeed, by using quality software titles, you can potentially fool the experienced ear, thinking it’s just hearing a real and not the virtual orchestra. To achieve this, you need to have a good arrangement and plenty of programming skills. However, some tend to overdo this, forgetting the basic musical idea in the process. Personally, I don’t treat orchestral sounds much different than the other ones. Of course, I always try to follow rules of aesthetics, but the quest for “perfect orchestral replica” was never my motive. Besides, I cannot afford to follow tech trends by constantly buying newer version of virtual instruments that emerge from year to year.
As a listener, I always preferred instrumental music of the 20th century, particularly the non-orchestral one, to the one from older periods. I don’t like to generalize, but people who listen to classical music and attend to classical concerts, tend to be arrogant and smug. I remember the words of my music teacher back in school. He used to say that people wrongly think that classical means something old. Instead, it means a certain level of quality. But this is then in some cases also applicable to modern music made with modern means. Is classical these days only for snobs, then? Of course not. There are plenty of those who love it sincerely and passionately. But there is also a lot of elitism and trendiness here. I immediately think about the famous New Year’s concert played by Vienna Philharmonic, which is typically sold out for next season within minutes after it ends. And from year to year, the same people are sitting there, mostly various power players, entrepreneurs, and moneybags. Many of those aren’t there for the joy of music but mainly to be seen and show their status.
Anyhow, orchestral music is something I plan to delve more in my creative work. Although the modern means that we have on our disposal seemingly make this endeavor more streamlined and accessible, they also bring along new challenges.