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The same goes for Schubert, and I assume for any composer of this time who is said to compose/write very fast. There are many sketches in score form that show this technique and in many completed works it can be reconstructed as in the mentioned example of Don Giovanni.On 29 Dec 2004 at 16:44, Dean M. Estabrook wrote:
Very interesting ... I was unaware of the complex relationship between composer/arr./orchestrator. Now I'm thinking, did any of the "Great" composers farm out their work to orchestrators, e.g., Beethoven, Mozart, etc..?
I'm unaware of any completed works of Mozart in which he did not do the orchestration.
His method of writing was quite systematic, and based in Italian practice. He wrote first the bass line and the first violin, which, in the Italian style, was the top line of his orchestral score. He then filled in the orchestration in a second pass.
Of course, sometimes he'd fill in some of the orchestration on the first pass, but this was basically the way it was done.
One can assume that a composition was called "completed" after the first pass. Orchestration counted as merely "working out" the final form. Nevertheless, as far as I know, composers did it generally by themselves.
It is similar on the next level, with articulation and dynamics. Schubert generally wrote only a few basic or essential dynamic markings in the first pass and filled out the rest later, but with less care.
Later in the 19th century and then to the beginning of the 20th century orchestration became more and more essential part of the composition. With composers such as Wagner, Mahler, Strauss... the orchestration is of such importance for the character of the work that it is unthinkable that the composers wouldn't do it by themselves.
And if you go into the second half of the 20th century, for "classical" composers such as Nono, Boulez, Lachenmann (to name just a few prominent names) "sound" becomes a central category of composition, so you cannot really distinguish between composition and orchestration anymore.
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