7. Discussion and Conclusion

This research implied finding answers to the main question: How can I arrange the Suite Española for reed quintet?

The main research question was divided by subquestions that are answered in phase 1 and 2. Different research methods were used to find results.

The sub questions were:

  • What did the arrangement process involve?
  • What did I learn from the arranging process?
  • Do the arrangements work for the reed quintet formation?
  • The feedback from the composers
 
A summary of the results
 
  • What did the arrangement process involve?

Phase 1
 
Learn about the composer, his life and context and his work the Suite Española. This arranging process involved: gathering information through books, articles and documentaries.
 
Phase 2
 
Writing an arrangement of the Suite Española. This arranging process involved: listening to the works of Albeniz and other Spanish nationalists such as Granados or Turina, to learn about the style; checking other works from other composers such as Ravel and his orchestration of Mussorgskys's Pictures of an Exhibition in order to learn more and improve my arranging skills; writing my ideas in a digital music program; showing my arrangements to the quintet and Miguel, Abraham and Raaf and adjusting the arrangements after their feedback; working together with Caire.
 
  • What did I learn from the arranging process?

Phase 1
 
How the composer was influenced by his life context, his personality and his way of approaching musical ideas through the use of the musical Spanish nationalism.
 
Phase 2
 
How to work well with the Sibelius music notation program.
Development of the skill of making arrangements based in my research through other works from Albeniz and other composers; through conversations with Miguel Matamoro; through comments from others on the different versions I made of the pieces in the work process; through my musical imagination and ideas.

  •  Do the arrangements work for the reed quintet formation?
 
I believe my arrangements of the Suite Española work well for reed quintet. This music is nourished by all these Spanish folcloric features that make it special. These features simulate typical aspects like for example the cante jondo from the flamenco singers or the typical flamenco guitar accompaniment.
I believe the reed quintet sonority immitates well the simulation of these features because of its flexibility, big range of register and color, which can remind to the color of the human voice. They also have a bigger range of articulation due to the combination of the double and single reeds, that can interpret well the expressivo and character of the typical flamenco guitar accompaniment.
All of these can bring a fresh perspective to the piece giving the work a fresh and expressive touch.
I learnt a lot from this project and I am happy to contribute with new repertoire to the reed quintet formation since there is not much original repertoire written for it due to its novelty (35 years old with original members of Calefax).
 
 
The works are still in revision but we are working in them in order to achieve the best interpretation possible and myself the best version I can make of it.
 

General and latest feedback from composer and pianist Miguel Matamoro:

I highlight the merit of delving into a job as challenging as transporting this suite to the reed quintet.

In Celia's arrangements you can see a great commitment to resolving the great contrasts of textures and dynamics without giving up the organicity in leading the voices that any harmonization needs with only five parts available.

In her arrangement, Celia shows great taste for timbre development, in a formation full of possibilities from whose scores one can deduce a great mastery.


I also highlight the brilliance and meticulousness with which Celia resolves some of the passages of virtuosity on the piano and, also, how she chooses with great criteria the correct solution in the multiple passages in this collection where it is necessary to decide which are the voices that maintain the discourse and sonority of the Suite.

Specific feedback on the first versions of Granada and Cuba from clarinetist and composer Abraham Gomez (1st prize winner Calefax competition):

One of the problems that I have always encountered when I make arrangements or

transcriptions of solo piano for ensembles with different instrumentation is the choice of

melodic lines and the colours to use. When I am arranging a solo piano piece for a reed

quintet, I think it is necessary to know the function of the instruments by their colours and

nature, and not just by their register.

Suite Española by Albeniz seems to me a good choice to make the arrangements for a reed

quintet, especially for exploring the possibilities of the nature of the instruments.


Granada

The arrangement of Granada in an a priori vision, faithfully reflects the music of Albeniz.

After looking closely, I think the range of the arrangement is in a very limited register.

Perhaps it would be a good idea to expand the register and translate the sound of the

original version to the ensemble, such as the beginning, by changing the register an octave

up of the oboe, clarinet and alto saxophone, it would give a much richer sound. In the same

way, I would question the choice of instruments for the initial solo. The bass clarinet has a

much more enveloping sound in its low register while in its high register it becomes very

dolce and it's not well defined compared to other instruments in the ensemble, while the

bassoon has a very defined and full-bodied sound in its low register, but the high register it is

more lyrical and easier to be heard. In the same way, I would suggest this change due to the

range of dynamics that the two mentioned instruments have. The bass clarinet can reach

much softer dynamics than the bassoon, but all these are questions that one has to ask

oneself to enrich a transcription or an arrangement. I fervently believe that making a

transcription or an arrangement is to provide that the music has a better version than the

original.

I find the full score a bit confusing, is it a transposed score or in C? In the same way, you

should keep in mind that depending on this, you have to change the clefs in some

instruments. For example, I'm not sure in bar 37 the bass clarinet has to play in unison with

the bassoon, but then later in bar 57 they play in the same range and there is a clef change

in the bass clarinet. Why does the bass clarinet in measure 37 play in that register?

In my opinion, it would be more effective to leave a pedal note in unison with the bassoon to

give the section more depth and color as it did in measure 57. In the same way, I would think

that in the original version the piano looks for a bell effect in the left hand, I think I would use

the same effect with all the instruments in the ensemble appearing one by one while the

oboe sings with the melodic line as it appears in the arrangement.

After having mentioned these points, here are some details that I found that they could

change or pay attention to:

- Clarify the type of Full score, if it is transposed or in C.

- Expand the register of the instruments.

- Translate and capture the artistic result of the original version.

- Take into account the melodic lines to give consistency to the phrases with the choice

of instruments, in the same way the effects that the original version wants to create.

- Deliver the same audio and full score, to match what is written.


Cuba

My suggestions on the arrangement of Cuba are:

- Arrange bass clarinet part using either F and G clef for easy reading in C score.

- Like Granada, it would be interesting to change some aspects based on the sound

result of the original work, for example the "marked" indication, does it work the same

as in the reed instruments compared to the piano?

- Maybe it would be a good idea to be able to get out of the register of the instruments

a bit even if the same melodic line is presented but with another instrument. For

example, measure 32-44 with the melodic line of the oboe and saxophone, and then

change the oboe to the clarinet, the timbre effect is not as effective in my opinion

because it is based on the same instrument, saxophone. When there are octave

movements, the voice that resonates the most is usually the lower voice, unless

otherwise specified. By having a very resonant instrument like the saxophone, you

lose a lot of effect. Maybe you could explore the combination of instruments with their

range, the low range of the oboe, the combination of clarinet and oboe, taking the

bass clarinet out of the accompaniment, etc.

It's a good start, and I think the end result can be amazing if you make the right changes.

Specific feeback on the first versions of Cataluña by Calefax member Raaf Hekkema:

 

Hi Celia,

 

Here’s a few remarks that I hope may help you…!

  • Try to really create music for reed quintet. That means that you must think as if you were newly composing this piece. Players must never have the feeling that it they are filling in notes for other parts – like an arrangement (beh…!). It’s not distributing notes, it’s creating a new texture of the old music.
  • Some upbeats belong to the melody, but are in another part now. Try to make everything musically logical.
  • Try to create musical textures that are actually more interesting than the original. Invent new voice leadings, work with registers and colours. Maybe add octaves or simply take the whole thing an octave up or down to make your point. Sometimes you may want to limit the instrumentation to 3 instruments(…?) so you can have a big return to tutti.
  • The original is only a source of inspiration. Be bold in your choices. Be creative. Albeniz is dead, he won’t be angry with you.
  • Basscl in bass clef in the score – part in treble clef.