Bringing Unheard Orchestral Works to Life: testing the digital orchestra

Abstract

This submission for the degree of Doctor of Philosophy at the Elder Conservatorium of Music, University of Adelaide, comprises a portfolio of compositions supported by commercially-released sound recordings and an explanatory exegesis. The submission comes from a composer who is also an experienced conductor and pianist, with a background as an orchestral musician (french hornist and bass trombonist). These multiple musical identities have had a significant bearing on the approach to the submitted works. The focus of the portfolio is on the use of digital orchestras for providing convincing realizations of compositions by the author and compositions by other Australian or Australiabased composers that highlight particular aspects of orchestration and digital realization. The most important element of research is the testing of orchestral sound libraries in bringing to life forgotten or neglected orchestral music that deserves recognition. This is especially relevant at a time when concert and operatic repertoire is shrinking due to the increased costs of maintaining orchestras and opera companies. Where opera is concerned, the inclusion of the author’s most significant work, Dracula, shows how live soloists can combine with a digital orchestra to make a successful recording. The increasingly sophisticated digital sound samples that are now widely available, but often used without expertise, have the potential to offer a viable alternative to orchestral or operatic performance when none is forthcoming or practical.