Upbeats: Season 5, Episode 7 (Braving Arrangements)

JJ and Haz recognise the often unsung heroes that are the arrangers, orchestrators and transcribers of the musical world, drawing on their favourite re-imaginations of solo and orchestral pieces. We'd love you to send your own favourite examples on a2@artsactive.org.uk. 

Mae JJ a Haz yn cydnabod yr arwyr sy'n aml yn ddi-glod sef trefnwyr a thrawsgrifwyr y byd cerddorol, gan ddefnyddio eu hoff ddarnau unigol a cherddorfaol wedi’u hailddychmygu. Byddem wrth ein bodd pe baech yn anfon eich hoff enghreifftiau chi at a2@artsactive.org.uk 

Transcript

JJ

Hello, my name's JJ.

Haz

And my name is Haz.

JJ

Happy springtime to you all.

Haz

How are you doing? How's everyone doing?

JJ

I'm slightly disappointed. I'm looking out at my new garden here.

Haz

Stunning.

JJ

You might be able to see in the back here, Haz, that we've got a cherry tree.

Haz

That is beautiful.

JJ

Well, is it though? It's now looking rather brown and muddy.

Haz

It's minimal for a cherry tree. It's not the traditional Japanese blossoms that I'm used to but...

JJ

I don't know what kind of cherry it is, but basically it blossomed for about a week.; this brilliant white, and then it's gone to this muddy brown affair. Is that normal?

Haz

Did you just have one massive cherry the size of a football and then it just dropped off and now it's...

JJ

No. No fruit, nothing like that. So yeah, it was a short-lived spring.

Haz

And I feel like we're going straight into spring-summer because I'm here completely covered head to toe and fake tan.

JJ

Well done.

Haz

Thank you. Getting summer-body ready. And by that I mean just adding another layer of skin to myself, which is just gloopy brown on top of my very freckly pale skin. So that is the look I'm going for this summer.

JJ

Well, that's a lovely image for our listeners to lock onto.
 Haz
 Thank you.
 JJ
 That and cherry blossom, which is mildly disappointing, as I say. We are talking about unsung heroes. And let me tell you why you, Haz, are an unsung hero on two fronts.

Haz

Is this going to be, this is your life? Oh my God. Oh my God!

JJ

Sadly no. I don't have your great aunt lined up outside. But what I can say is that you're unsung because you're a viola player and generally they are overlooked in the orchestral world.

Haz

Thank you. Always. I mean, sometimes for a reason, but, er...

JJ

And you're an arranger.

Haz

Now, I think that's out of necessity.

JJ

Right.

Haz

Because as a viola player, there isn't that much out there for us, I guess, in terms… I mean, I'm not saying who would want to listen to that. I don't think anyone's really been like, ‘That sounds great, but do you know what would be even better? If it was on a viola.’ But I think it generates more work, doesn't it? Because if you have things that you can arrange for different instruments, it means you can play them in more venues, you can get paid more money, you can visit more places all over the world. It's perfect.

JJ

We're talking about arrangers, orchestrators…
 Haz
 Composers, I mean…
 JJ
 Transcribers… 
 Haz
 Perfect.
 JJ
 …in this podcast, because Iain Farrington has arranged, I think, five out of the seven pieces that the Ferio Quartet will be playing on Tuesday the 5th of May in Eglwys Dewi Sant. If you're listening in time, please do get tickets. They've been there before, we've spoken about them before. 
 Haz
 Yeah.
 JJ
 We've done a whole podcast about ‘sax appeal’ and ‘saxiness’ and we've got all those innuendos out in that podcast.

Haz

Yeah, so we basically… there are no more puns left. So we were like, ‘What can we talk about? Aha, arrangers.’

JJ

Exactly. So if you want to hear more about saxophones, then please check out Braving the Sax. That was previous. So yes, we're talking about arrangers and what unsung heroes they are. They make the repertoire come alive for all sorts of different genres and, I suppose, combinations of forces, right? 
 Haz
 Mmhm.
 JJ
 Different ensembles. So I thought we could maybe just try and start by defining the difference between an arranger, an orchestrator, and a transcriber.

Haz

Like, this sounds like one of those jokes, like, ‘Three men walk into a park.’ Like, it sounds a bit like that, but I'm sure there is a distinct definition because a transcriber is someone who just, I mean, this sounds rude, but just copies it or writes it down neater.

JJ

Well, I think this is where you see… it is quite nuanced because yes, and one version of transcription is, say in the jazz world, to listen to something, typically, you know, improvised solo, and then to transcribe and notate it down or even just to put it straight onto your instrument. And that's one version of transcription. But it also goes right the way back to people in the late Romantic era. I'm thinking particularly of Liszt and how he would take Beethoven symphonies and transcribe them for the piano.

Haz

Right.

JJ

And you'd have these solo transcriptions of bits of Beethoven, Wagner, all sorts, which would again allow him to show off his technique as a solo pianist.

Haz

That's very cool, because you're saying, look what has been written for 40 instruments, but now I can do with 10 fingers on the piano and it sounds just as good. And also I sound really cool for being able to play that.

JJ

Exactly. Exactly. And also it would have been, you know, these orchestral pieces would have been so popular in the day and people would have wanted to hear them and his version of it, but also to be able to reproduce it for themselves in their salon on their very own piano. So, you know, it's quite a canny move.

Haz

That is. And also when you said transcriber, then I suddenly realised yes, because there is more than that. If you think about the solo Bach suites, by Bach, obviously, because they're Bach suites. And you can have them for any instrument. I think we’ve mentioned before, even tuba. And when I say even tuba, I mean, like, especially tuba.

JJ

Yes, and Kazoo, if you want it.

Haz

If you want it, and I do. Thank you. I really do.

JJ

Is that now a thing?

Haz

Bach suite solo, you know, in six parts for triangle, maybe less so, but kazoo I'm there for.

JJ

Okay. Well, there's probably something out there for you already on the YouTube channel. But, here's the thing. Why don't we just give a sense of what we're talking about here? So let's do a transcription treasure swap to get us going.

Haz

Okay. Perfect. Yes. Can I go first, please? 
 JJ
 Please.
 Haz
 OK, great. I literally put my hand up then because I was really excited.
 JJ
 Yeah, I know!
 Haz
 I was like, ‘Yay, can I please?!’ So I've gone for a transcription of the second movement of Beethoven 7.

JJ

Brilliant.

Haz

Now, I heard this, actually, let me just boast a little bit, in an art gallery and museum in Australia, walking around with my brother and he...

JJ

So well travelled.

Haz

Isn’t’… Oh, I know! We were very hungover. And so we were like, how are we going to kill the time before the bars open and we can physically eat and drink again?

JJ

Unlike you.

Haz

Well, I know. So we were walking around and then Daf said to me, ‘Oh, I love it when you can listen to some music and watch something.’ I was like, ‘That sounds great, Daf. What do you listen to?’ Thinking he was like, [imitates techno drum beat] that kind of thing. And he was like, ‘Whoa, a bit of Mozart, is it?’ And I was like, ‘Wow!’ So he sent me this track actually, and I was like, ‘Daf, this is brilliant. This is amazing.’ So it's from an album called This Is (Not) Beethoven. Variations by Arash Safaian, or I don't know if I'm saying that right, but it's S-A-F-A-I-A-N, played by Sebastian Knauer and the Zürcher Kammer Orchestra. 
 JJ
 Ooh.
 Haz
 Quite exactly. But it's the Adagietto and it's the Beethoven 7, but written for piano. And I think, if possible, it sounds even darker and moodier than the orchestra. It still has that heaviness, but also I think it has echoes of the Moonlight Sonata in it as well.

JJ

I can't wait. Yeah, I can imagine for solo piano, it's going to sound more desolate and lonely almost.

Haz

Yes. Yeah. JJ
 Okay, let's have a listen.
 [Music: This Is (Not) Beethoven. Variations by Arash Safaian. Sebastian Knauer. and the Zürcher Kammer Orchestra]

JJ

He's taking some liberties there, isn't he? He's reharmonising.

Haz

Yeah, I saw a little raised eyebrow, but then a little smile as you were listening to that then.

JJ

Good choices. I mean, technically, technically, as a transcriber, you wouldn't do that, but as an arranger, you might, right? And here we get on to a bit of a difference between the two arts.

Haz

Yes, absolutely.

JJ

I did like… It's very atmospheric and he... Yeah, he's getting the fragility of that opening beautifully, isn't he?

Haz

Yeah. Yeah, we were just talking then about how it's so important to flow in that movement and you can't feel static and stodgy. 
 JJ
 No.
 I like it to, well, when I'm conducting this one... 
 JJ
 Ha ha!
 Haz
 In fact, you know what, I might pay you to, like, play that for me. I'll get that printed out. Can you play it for me? And I'll just lie on the floor and cry.

JJ

With pleasure.

Haz

Thank you. With pleasure?!

JJ

Well, you know, because I'm sure it'd be tears of joy, right? 
 Haz
 Oh yes, yeah, yeah.
 JJ
 Yeah, tears of joy. That's what I'm assuming.

Haz

Exactly. So what have you brought me for me to maybe cry over?

JJ

Well, I don't know if this is quite weepable, if you see what I mean.

Haz

I can make it work. Go on.

JJ

Okay, well, it's by Ferruccio Busoni, and he did a lot of famous transcriptions. He's, sort of, a late romantic, early 20th century Italian composer who reimagined the Chaconne by Bach. Now this is a piece that is sort of black belt 7th dan for a solo violinist. 
 Haz
 Yep.
 JJ
 I'm sure you're very aware of it.

Haz

I'm very aware of it. I'm not very familiar with the Chaconne. I mean, come on.

JJ

It's a beast for the violin.

Haz

It's a beast of a piece.

JJ

Full of chords. It's almost as if Bach imagined it for the keyboard initially, right? And then thought, actually, do you know what?

Haz

Yeah. Or maybe I'd like to think in my head that he had like a best friend who was a really, really good violinist. He was like, ‘Oh, give me a crack at that. I reckon I can make it work.’ And he was like, ‘Go on then.’

JJ

Well, this is what Busoni did with it. I'm going to, sort of, dip in towards the end because this is a series of variations on the main theme and it really is fantastically reimagined.
 [Music: Ferruccio Busoni; Transcription of Bach's Partita BWV 1004: Chaconne]

Haz

I mean, that sounds equally as difficult on the piano. Do you know, I was just thinking he's got 10 fingers and yet, wow, that's really cool, isn't it?

JJ

It's quite symphonic in its way, isn't it? 
 Haz
 Yeah
 JJ
 And that was, so Busoni's version of Bach's Chaconne for solo violin, reimagined and played by Yevgeny Kissin with amazing, kind of, power and Russian technique.

Haz

Yeah, and dexterity, like…
 JJ
 steel fingers. 
 Haz
 Yeah, and I think because you get both octaves of those runs, I just think, wow, it's really powerful and impressive.

JJ

It is, isn't it? So that's an example of a transcription. Lovely treasure swap. We'd love to know your favourite transcriptions. And I know we're speaking to quite a few listeners now. It's really quite exciting.

Haz

This terrifies me. 
 JJ
 Does it? 
 Haz
 Yeah, I don’t know…
 JJ
 And breathe.
 Haz
 I know. I just… because for me, I'm just sat, we're just sat in the kitchen having, like, a coffee and being geeks together. And then when people, we saw the people listening – like, Vietnam.

JJ

Yeah, and Seychelles.

Haz

That's bonkers.

JJ

That's brilliant. We welcome you.

Haz

I know. Yeah, we love it. I love it.

JJ

Keep listening.

Haz

But also, at some point, write in to us, please, because then we can, like, we know that you're friendly and lovely. Otherwise, I'll have an existential crisis and just keep crying all the time.

JJ

So should we just ask people to write in and say what's wonderful about Haz?

Haz

100%. And like, yeah, so you know when you take requests at concerts and stuff like that, ‘Oh, we'll play anything, we take requests.’ And I always say ‘We don't take constructive criticism, we don't take heckles, we don't take even comments that could be taken 50-50.’ So nice words, good vibes, and favourite composers or transcriptions please.

JJ

I think so. Favourite transcribers, orchestrators and arrangers, which we're about to define. And you can write into us at A2 and that A2 as the figure, the number. at artsactive, all one word, .org.uk. A2 at artsactive.org.uk.

Haz

Okay, now I need a cold shower. So can we just, now we've done that, can we go on to arrangers please, because I will feel better.

JJ

So would you agree that the difference between an orchestrator and an arranger is this? I think an orchestrator takes something like a pencil sketch and fills it out, recolours it as an oil painting, you know.
 Haz
 Wow.
 JJ
 So the original is still visible. 
 Haz
 Mmhm.
 JJ
 But it's just imagined on a grander scale and typically for an orchestra, but it could be for a bigger, sort of, ensemble of instruments or whatever. 
 Haz
 Yeah.
 JJ
 But usually you keep to the same genre as the original.

Haz

Yes.

JJ

Whereas an arranger, there's a little bit more creative freedom involved. The arranger can reharmonise, they can translate something across to a new genre. So typically, take a bit of Bach and then put some swing in and make it jazzier.

Haz

Absolutely. I also feel like with arrangers, you don't have to be a quote unquote professional musician. You can do it for the love of it, or you can say, oh, I've done an arrangement for this because I really wanted to play it. Whereas an orchestrator is usually at the right hand of a composer like John Williams. Okay, he's written this beautiful piano tune. Now put this to orchestra. Or this is a beautiful choral piece for piano, but we want to set it to do chamber orchestra, let's orchestrate it. I feel like orchestration is like almost in my mind a little bit more highbrow and that's not shouting down arrangers at all. It just means that arrangers are a bit more like the underdog, like yeah I can do that. And anyone can, you know, you can…

JJ

That's the spirit.

Haz

Yeah, you don't have to be the lead singer of the band to have made the arrangement. You can do an arrangement for… anyone can.

JJ

Well, let's just hear what a difference an orchestrator can make. Let's just start with that and I thought we could play, well, this will be, you know, a typical, for anybody who's actually studied orchestration, you will have guessed where I'm going here. But we're going to go to Mussorgsky's Pictures and an Exhibition, and… originally composed for solo piano.
 Haz
 Mmhm.
 JJ
 And then re-orchestrated by many different composers. And first of all, let's just hear this little excerpt from The Hut on Fowl's Legs. So this is a really characterful, demonic little sketch for solo piano by Mussorsky, here played by Boris Giltberg.
 [Music: Modest Mussorgsky: Pictures and an Exhibition The Hut on Fowl's Legs]
 JJ
 So that was Giltberg doing Hut on Fowl's Legs. 
 Haz
 Mhhm. Okay.
 JJ
 So it's nice to hear it for solo piano, isn't it?

Haz

It is nice, but I was just thinking it's weird as well because I'm so used to hearing it a certain way that the way I've heard it sounds like the normal version now.

JJ

Yes.

Haz

And everything else sounds like a lesser version of like, ‘Oh, how interesting that they've just put it on piano.’

JJ

That was, if you like, the pencil sketch, just going back to that analogy. 
 Haz
 Mmhm.
 JJ
 And the normal version that you're referring to is probably the Ravel orchestration.

Haz

Yes.

JJ

And Ravel is the GOAT. Check me out.

Haz

What?! You are so hip and happening, JJ.

JJ

Yeah, I know, I'm trying to slip that word in every podcast now.

Haz

Greatest of all time.

JJ

Regular listeners will groan. Anyway, so he is the go-to and this is his version of that same segment. Now we're just going to play the opening just to give you a sense of it. 
 [Music: Maurice Ravel; Orchestration of Modest Mussorgsky: Pictures and an Exhibition: The Hut on Fowl's Legs]
 JJ
 Suitably threatening.

Haz

Yeah, that's really cool. That's the one I know.

JJ

Yes.

Haz

Yeah.

JJ

So that is the classic orchestration by Ravel. And while that is fresh in your ears, let's go now to the lesser-known one by Leopold Stokowski, who, well, I'm not going to, I'm not going to sow any thoughts in your mind, just Listen to this with an open mind and an open heart. See what you think.
 [Music: Leopold Stokowski; Orchestration of Modest Mussorgsky: Pictures and an Exhibition: The Hut on Fowl's Legs]

Haz

Yeah, it's not what I know, so I don't know if that's why I'm not instantly attracted to it.

JJ

It kind of goes from one family of instruments from one bar to the next, right? 
 Haz
 Yeah.
 JJ
 It really spins the ear around the entire orchestra, and I feel it's... It almost feels like there are multiple huts and house legs rather than one sole character.

Haz

Yeah. It's also very clever because it's like saying, ‘Oh, look how I'm bouncing the melodies from the different sections of the orchestra.’ Whereas really I prefer the threatening.
 JJ
 Yeah.
 Haz
 Yeah, the immense level of threat that you get from the Ravel version where it's all really visceral and, like, all the sound, like, all the string players going for it really, really hard at the start.

JJ

Yeah. Yes, and to have that coherence of tone and character and personality. So, this is a good example, I think, of the orchestrator getting in the way of the original.

Haz

Oh he's not alive is he? 
 JJ
 No!
 Haz
 Okay. Are we…
 JJ
 Stokowski No, no, no. 
 Haz
 He's not going to write in on e-mail, is he? 

JJ

No. The venerable Leopold Stokowski had his heyday and is long gone.
 Haz
 Ok, phew!
 JJ
 But he's a remarkable personality, you know, an orchestrator and conductor, composer, and a larger-than-life personality. And I think you can hear that in that orchestration, right?

Haz

Mmhm. Yeah, lots going on. Lots going on.

JJ

But gives the original a completely different personality. And that was the main point of this illustration.

Haz

Yeah.

JJ

You can make that difference.

Haz

Yeah, you really can. So that's an arranger.

JJ

That's an orchestrator.

Haz

An orchestrator. Okay, got it.

JJ

Now we get on to arrangers, right?

Haz

Okay, now we're on to arrangers.

JJ

Now you've done arrangements. What do you think is really important as an arranger to observe?

Haz

Oh gosh, well, if it's like for me basics, you want the tune, the bass line, the melody, the harmony and it to sound very much like the original, but still with your favourite bits brought to the forefront.

JJ

So you're bringing your own personality into it. 

Haz

Yes. And also, especially if you have a group in mind. who are going to play it. Say if you've got a really, really, really good cellist on a gig and you're arranging this thing for string quartet and you just think, I'm just, even though that tune is like quite high up, I'm just going to whack it on the cello because this player is amazing and they'll just make it sing. So I think it's extra special if you know the group who you're arranging for.

JJ

Yes, and to arrange, yeah, to bring out the maximum colour from the people you've got in the room. I think that's right. I was just speaking to a teacher yesterday who... 
 Haz
 Oh, so sorry. 
 JJ
 Well… I mean, he was an ex-teacher.

Haz

Okay, so he's escaped. He’s…

JJ

He's escaped. But here's the thing. I mean, you know, part of the reason it was so stressful was that he was trying to do just basic orchestral programmes, right, but found that there was such differentiated ability in the school that he ended up spending, you know, up to a week arranging whatever it was. I'm not going to sort of drop him in it by mentioning a piece out of copyright. 
 Haz
 No, no no. Yeah, yeah yeah.
 JJ
 But anyway, whatever it was for something that would work for both, you know, grade 2 and grade 8.

Haz

Yeah, especially, I mean, instantly just thinking out loud, like, for example, if you've got something that you want to play for string orchestra, if you stick it in D major, you know that the third violins, because there won't be any violas, are just going to be playing open G and open D. 
 JJ
 Yes.
 Haz
 And that's absolutely fine, because, yeah, but it does remove all of that, yeah... the nuance of like, ‘We could do this with it.’ It's like, ‘No, we need to also have parts that match the ability of the players.’

JJ

That's right. So that's quite a jigsaw. I've done quite a lot of that for community orchestras. 
 Haz
 Mmhm.
 JJ
 And you end up, you know, perhaps in the original, if it went up a key. And you think actually, no, that's not going to fly because of the reasons you've just mentioned is that, you know, these kids can't, they can't reach that on their violin yet.

Haz

And then for your Dovetail, for example, you're doing things that are like, okay, this is originally for wind quintet, but I need to do it for sackbut, viol, kazoo, marimba, and nose flute. And then someone's brought in the most beautiful instrument from a country that you've never even heard of and you think, this is so incredible, can I add this to the texture? And then a singer, and then it still has to sound like Jackson Five at the end of it.

JJ

I’ll accept that challenge! Jackson Five on a nose flute. That would be quite the, yeah, arrangement. Dovetail Orchestra, by the way, is a wonderful community charity that comprises five orchestras, almost five, almost five, four currently. And it's for people who have been displaced from all over the world. So you're absolutely right that we end up with these wonderful instruments that get brought in and you wonder how on earth do I put a Welsh folk song or whatever onto a Turkish lute. 
 Haz
 Yeah.
 JJ
 How is that going to work?

Haz

Because you want to be inclusive. You don't want to say, oh, unfortunately, there's nothing for this combination of instruments. Instead, you're a fixer and you're going to make it so that they all… that everyone can join in. And that's the whole point, isn't it?

JJ

So it's about being inclusive. It's about knowing for whom you're arranging and not just their skill levels, but also their strengths. About bringing out the maximum colour and personality of the people in the room. So that might mean if it's a jazz big band, you're going to think differently about the original and think, how can we make it fly for that? And often with arrangements, you're, as I said earlier, you're going across genres. I've got a great example for you.

Haz

Great.

JJ

So this is a piece by William Walton originally, and it's film, incidental music, and it's called Touch Her Soft Lips and Part. Now you’re…

Haz

Why can’t you look at me when you say that?

JJ

Because you're already giggling.

Haz

No, it's because you had to re-record that because you were giggling the first two times. It’s Touch Her Soft Lips and Part.

JJ

Yes.

Haz

Not parts. And not part as in like, yeah, I think…

JJ

When we've talked about this piece in the past, you've mentioned how youth orchestras have put fart instead of part and all sorts. So yeah, it's open to interpretation. Anyway, it's beautiful, beautiful, romantic moment, and the original sounds like this. 
 [Music: William Walton; Touch her Soft Lips and Part]
 JJ
 So that's the version we know and love for string orchestra. And now here's what composer-arranger Bob Chilcott has done with the very same material. Bob is a former Kings Singer and is a wonderful arranger for choirs and choral forces generally. So this is Bob Chilcott's version of that very same piece. See what you think.
 [Music: Bob Chilcott; Transcription of William Walton; Touch her Soft Lips and Part]

Haz

That is lovely. I really like that.

JJ

Isn't it beautiful?

Haz

Yeah. That's… for me, well, it sounds bad, but even better than the original. I don't know, are we allowed to say that?

JJ

I think we are. Yeah. On this Braving podcast, we tell it as it is, famously.

Haz

We are explorers, pioneers. So that is still an arrangement rather than a re-composition.

JJ

Yeah, I mean, all of these terms overlap, don't they, really?
 Haz
 Yeah.
 JJ
 But I think, yes, an arrangement is a re-imagination of the original, often for new forces, as will be the case with Iain Farrington and the Ferio Sax Quartet.

Haz

Yeah, this would be lovely.

JJ

Now, I just wonder whether our listeners, who might be listening from Vietnam or not, might like to just tell us whether they like that choral arrangement after Walton on A2 at artsactive.org.uk. I'm going to get used to this.

Haz

I know, I'm not, but that's great. I think in terms of re-composition or re-imaginings, I immediately think of the Duke Ellington Nutcracker.

JJ

Oh yes, classic.

Haz

Which we’ve used before but I was thinking that lots of the things that I listen to are in fact re-imaginings of things or people bring me pieces and say can you play this at my wedding or at this concert for violin and harp and so I'm playing a lot of different arrangements but often it works better as a re-composition than it does as a faithful retelling of that thing. 
 JJ
 Yeah.
 Haz
 Another thing that we get requested quite a lot is the Max Richter re-composition. It's called Vivaldi Recomposed, isn't it?

JJ

It is.

Haz

So you've got Spring One, which is now, we've played that probably to death as well, but that one is now, for my age and below, because I'm so young, more well known than the Vivaldi Spring.

JJ

On which it is based. Wow.

Haz

Exactly. So Spring One is so famous now, it's used on adverts, different films and trailers, and famously on the multiple seasons of Bridgerton.

JJ

Yes.

Haz

So that is one that we've just heard. People are more familiar with the Richter version of Spring than they are with Vivaldi.

JJ

Well, good on him. You know, I'm sure he's living the life.

Haz

Yeah, absolutely. It's great. And if it brings Vivaldi to more people as well, fab.

JJ

Well, that's an important point, isn't it? Because a lot of the time that is the result of these arrangements. It is about sharing the work beyond the usual boundaries and beyond the usual spaces in which you'd hear them. And that's also the case, I suppose, for the Gershwin that the Ferio Sax Quartet are playing. Normally you'd hear that in a symphony concert hall. And this is a version which I particularly like for four pianos, not for four saxes, as they will be playing. 
 Haz
 Wow.
 JJ
 But see, well, I say 4 pianos, actually it's two pianos with four players. 
 Haz
 Wow!
 JJ
 So it's two duos. And it's so sprightly and it brings out the perkiness of the original. 
 [Music: George Gershwin; An American in Paris, arr. Stefan Wirth and Marlis Walter]
 JJ
 I just love that piece.

Haz

Yeah, that's great. I really like how you can hear the clicks in at the beginning as well. It makes it even more jazzy for me.

JJ

Yeah, it gets you into the mood, doesn't it?

Haz

Yeah, absolutely.

JJ

So that's a little taster of one of the pieces that will be reimagined by Iain Farrington. for four saxophones and the Ferio Quartet on Tuesday, the 5th of May.

Haz

That'll be great. And the acoustics in there, I think, with the four saxophones will be absolutely gorgeous. 
 JJ
 That will be fun won’t it.
 Haz
 That would be amazing, yeah,

JJ

For those of you who are around the corner from Cardiff, don't miss that. Haz, thank you so much for this little brief survey of all things transcription, arrangement and orchestration.

Haz

This has been extra specially geeky today, and I love this. When we get into the nitty-grittiness of it, and yeah, it's been wonderful. Thank you so much.

JJ

I thought we could see ourselves out with something Welsh.

Haz

Always.

JJ

And it doesn't get Welsher than Calon Lân.

Haz

Do you mind if I stand up with my hand on my heart at this point, just…?

JJ

No! We must be all be upstanding and yeah, weeping slightly.

Haz

Mhhm. And you've gone extra special Welsh for this because I think you've chosen something that features nearly everyone that I know from Wales playing.

JJ

It's a wonderful band. Now this is... Jeffrey Howard's orchestration of this song. And it's been played by Ensemble, I want to say Cambrica, is that right?

Haz

Yeah, that's exactly right. And there's a version on YouTube as well where you can see everyone playing together. And you can see, like, little kids come in and join the video. You can see people conducting. You can see my duo partner, Mags, playing the harp, looking gorgeous with a gold harp. Everyone special, important and fantastic is on that video.

JJ

This has got a very sentimental for you all of us.

Haz

Again, my hand’s on my heart for a reason Jon, so yeah.

JJ

This is a lockdown video from, if we can cast our minds back to that dark period of COVID. 
 Haz
 Mm. I’ve blanked it out.
 JJ
 So this was one of the beautiful things that came out of it. A beautiful video of this version. So Jeffrey Howard is a bit of an unsung hero.

Haz

Yeah.

JJ

It's a beautiful reimagining.

Haz

Absolutely gorgeous. And they raised over 1000 pounds for the NHS and COVID charities. So they did wonderfully well with this. So it's a good thing to see us out with. I feel very upbeat.

JJ

See what you did. 
 Haz
 Thank you.
 JJ
 Hwyl fawr.

Haz

Bye.