Greatest examples of orchestral string writing?

[Guido]

At the moment I'm tempted to say that Bartok's Divertimento for strings is (surprisingly!) maybe the single most astonishing piece in terms of string writing there has ever been. Has any other composer understood the infinite timbral possibilities of this ensemble quite so well or exploited them quite so beautifully, with such imagination and apparently artless inspiration? It's a great, great masterpiece and needs to be heard if you don't know it!

So what are your candidates?

The other thing that instantly springs to mind: There are some moments in Janacek's operas where the string writing just bowls me over.

There are obviously lots of examples of beautiful string pieces - Fine's Serious Song, Barber's Adagio, Bliss' Music for strings, Korngold's Serenade, RVW Fantasia etc. etc. But these all explore a much narrower seam it seems to me, successful though they all undoubtedly are.

[RJR]

At the moment I'm tempted to say that Bartok's Divertimento for strings is (surprisingly!) maybe the single most astonishing piece in terms of string writing there has ever been. Has any other composer understood the infinite timbral possibilities of this ensemble quite so well or exploited them quite so beautifully, with such imagination and apparently artless inspiration? It's a great, great masterpiece and needs to be heard if you don't know it!

So what are your candidates?

The other thing that instantly springs to mind: There are some moments in Janacek's operas where the string writing just bowls me over.

There are obviously lots of examples of beautiful string pieces - Fine's Serious Song, Barber's Adagio, Bliss' Music for strings, Korngold's Serenade, RVW Fantasia etc. etc. But these all explore a much narrower seam it seems to me, successful though they all undoubtedly are.

Funny that you should choose the Bartok Divertimento. That was the first piece that popped into my mind when I started reading your post.

[Hattoff]

Another obvious great piece of string writing is Britten's variations on a theme of Frank Bridge.

[Luke]

Tippett's Corelli Fantasia is like a love-letter to the strings. Meirion Bowen wrote something about it which rings so true to me - that, written at the same time as some of the hardcore modernist masterpieces of Boulez and Stockhausen, the sumptuously tonal and melodic Tippett nevertheless is not a hopelessly regressive look back at the past; instead it shows a completely different, unimagined 'new way forward', one which doesn't rely on following that narrow Hegelian arrow - more complex, more dissonant - but which uses the subtlest nuances of string articulation to underpin its unique, multi-dimensional narrative. As Bowen points out, when the fugue begins - a fugue on Bach's reworking of the Corelli theme - Tippett opposes different types of bowing and articulation between subject and countersubject that become the fabric of the music itself, leading to the stupendous climax. Or - another example - there is the reimagining of the Monteverdian 'goat trill' string terms. In IOW the music is totally informed by the physical properties of the instruments, despite using no extended techniques whatsoever. As I say, a love song to those little boxes of wood and wire.

[Guido]

Tippett's Corelli Fantasia is like a love-letter to the strings. Meirion Bowen wrote something about it which rings so true to me - that, written at the same time as some of the hardcore modernist masterpieces of Boulez and Stockhausen, the sumptuously tonal and melodic Tippett nevertheless is not a hopelessly regressive look back at the past; instead it shows a completely different, unimagined 'new way forward', one which doesn't rely on following that narrow Hegelian arrow - more complex, more dissonant - but which uses the subtlest nuances of string articulation to underpin its unique, multi-dimensional narrative. As Bowen points out, when the fugue begins - a fugue on Bach's reworking of the Corelli theme - Tippett opposes different types of bowing and articulation between subject and countersubject that become the fabric of the music itself, leading to the stupendous climax. Or - another example - there is the reimagining of the Monteverdian 'goat trill' string terms. In IOW the music is totally informed by the physical properties of the instruments, despite using no extended techniques whatsoever. As I say, a love song to those little boxes of wood and wire.

YES! This is what I meant. I must now listen to the piece again - will report back.

Is anyone else as ardent a fan of the Divertimento as I am?

[eyeresist]

The third movement of Prokofiev's Symphony No. 3 (1928, from the Fiery Angel opera completed 1927) has some very exciting writing for strings. Divided into 13 parts (unlucky?), according to Wikipedia.

I also consider Vivaldi's Four Seasons a real showpiece for what strings could do at the time, and obviously written by a practicing virtuoso.

[Mirror Image]

Is anyone else as ardent a fan of the Divertimento as I am?

If you're talking about Bartok's piece, then, yes, I am. It's a special piece that allows the listener to hear how well Bartok could compose for strings and it is also an interesting study piece that gives the listener a good idea of just how complex Bartok's writing for strings could be.

[offbeat]

Strauss's Metamorphosen - claustrophobic like a troubled dream......

[chasmaniac]

Strauss's Metamorphosen - claustrophobic like a troubled dream......

Yes! It's several centuries removed from my favourite musics, but this is the piece that occured to me right away.

[CRCulver]

At the moment I'm tempted to say that Bartok's Divertimento for strings is (surprisingly!) maybe the single most astonishing piece in terms of string writing there has ever been. Has any other composer understood the infinite timbral possibilities of this ensemble quite so well or exploited them quite so beautifully, with such imagination and apparently artless inspiration? It's a great, great masterpiece and needs to be heard if you don't know it!

So what are your candidates?

Ferneyhough's writing works best for strings, I think. There is no possibility left unexplored and the constant invention is dizzying. Try his String Quartet No. 3.

[Brahmsian]

Bartok's Divertimento - Oh yes!

Strauss' Metamorphosen - Oh yes also!

Mahler's Adagietto of Symphony No. 5

[Guido]

Luke - The Corelli Fantasia is so beautiful. Amazing.

[AllegroVivace]

Bartok's Divertimento is hard to beat. I think that a lot of Debussy's orchestral works have quite interesting sting writing in them too.

[Mirror Image]

Bartok's Divertimento is hard to beat. I think that a lot of Debussy's orchestral works have quite interesting string writing in them too.

Yes, I agree. Debussy's string writing is fascinating for sure, especially in works like La Mer, Images for Orchestra, and Nocturnes. There's a work for harp and string orchestra called Danses sacrée et profane that's just gorgeous. Koechlin has some exquisite string writing in his music as well, but this opinion may be a little biased. One thing Koechlin's music demands from a technical standpoint from the string players is the attention to volume and overall dynamics. I've noticed he uses a lot of volume swells in his works and this particular effect is hard to pull off well especially if it's having to be used for a long period of time.

[Wanderer]

Korngold's Serenade

Among the many fine examples you mentioned, I'd like to highlight this one, for sheer awesomeness and almost criminal neglect.


Other great examples that come to mind: Bartók's Music for Strings, Percussion & Celesta and Bantock's Celtic Symphony.

[snyprrr]

At the moment I'm tempted to say that Bartok's Divertimento for strings is (surprisingly!) maybe the single most astonishing piece in terms of string writing there has ever been. Has any other composer understood the infinite timbral possibilities of this ensemble quite so well or exploited them quite so beautifully, with such imagination and apparently artless inspiration? It's a great, great masterpiece and needs to be heard if you don't know it!

So what are your candidates?

The other thing that instantly springs to mind: There are some moments in Janacek's operas where the string writing just bowls me over.

There are obviously lots of examples of beautiful string pieces - Fine's Serious Song, Barber's Adagio, Bliss' Music for strings, Korngold's Serenade, RVW Fantasia etc. etc. But these all explore a much narrower seam it seems to me, successful though they all undoubtedly are.

The apples/oranges choice would have to be between Divertimento and Apollo, no? As 'listening' music, I prefer the Stravinsky. Of course, I've just been introduced to this piece, and I've fallen hard!

Pettersson?

I hear Kokkonen's piece is something (Music for String Orchestra, haha). There's a lot of Nordic, Bartok inspired music like this I see.

I do like Xenakis's Shaar. This is like an orchestral cousin of the wild and wacky SQ Tetras. Very well organized.


I'd be interested in some more examples here.

[AllegroVivace]

Yes, I agree. Debussy's string writing is fascinating for sure, especially in works like La Mer, Images for Orchestra, and Nocturnes. There's a work for harp and string orchestra called Danses sacrée et profane that's just gorgeous.

Especially his "Images for Orchestra"... It could be used as an orchestration manual.

I think this is an important thread and there's a lot to be said on this subject. Poor string writing can destroy a composer. And there are only a handful who really understand how to make the most out of those 40 or so musicians.

As this thread continues let's develop a list of composers whose string writing is especially remarkable. I'll think about it some more and will suggest a few names.

[Mirror Image]

Especially his "Images for Orchestra"... It could be used as an orchestration manual.

I think this is an important thread and there's a lot to be said on this subject. Poor string writing can destroy a composer. And there are only a handful who really understand how to make the most out of those 40 or so musicians.

As this thread continues let's develop a list of composers whose string writing is especially remarkable. I'll think about it some more and will suggest a few names.

Yes, writing for the strings can make or break a composer. In my opinion, the strings are the glue that hold everything together.

A few more composers who had interesting string writing that I haven't mentioned:

Vaughan Williams!!!!
Villa-Lobos
Sibelius
Berg
Ravel
Martinu (his Concerto for Double String Orchestra is killer!)
Schoenberg (Verklarte Nacht)
Wagner (listen to Parsifal, Tristan und Isolde, or any opera from the Ring)
Delius
Mahler
Bruckner
Adams
Milhaud
Tchaikovsky
Rimsky-Korsakov
Myaskovsky
Revueltas
Chavez
Ginastera
Szymanowski
Braga Santos
Ligeti
Dutilleux

[eyeresist]

Mention of Mahler reminds me, I keep meaning to get hold of Norrington's recording of the M9. Just listen to that sample from the opening of the last movement - it sounds amazing without vibrato.

[ASIN]B0037L0D9W[/ASIN]

[Guido]

Yes, writing for the strings can make or break a composer. In my opinion, the strings are the glue that hold everything together.

A few more composers who had interesting string writing that I haven't mentioned:

Vaughan Williams!!!!
Villa-Lobos
Sibelius
Berg
Ravel
Martinu (his Concerto for Double String Orchestra is killer!)
Schoenberg (Verklarte Nacht)
Wagner (listen to Parsifal, Tristan und Isolde, or any opera from the Ring)
Delius
Mahler
Bruckner
Adams
Milhaud
Tchaikovsky
Rimsky-Korsakov
Myaskovsky
Revueltas
Chavez
Ginastera
Szymanowski
Braga Santos
Ligeti
Dutilleux

OK, but maybe it would be good to write a paragraph on why you think each is extraordinary.

AllegroVivace - yes it could be interesting. Perhaps also we could talk about some examples of poor string writing to get a clearer and fuller picture of the subject. I'll also have a little think.