WE CONTINUE OUR STUDY OF “Daphnis and Chloe Suite II”
This month we continue our study of Maurice Ravel’s “DAPHNIS AND CHLOE SUITE II”. Considered a masterpiece, not only of composition, but of orchestration, this work is an encyclopedia of orchestration techniques that are applicable in any style or genre of music.
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This Month’s Guest
Long-time Toronto Ravel supporter Amin Bhatia is an Emmy nominated composer who has been both a synth programmer and a film score composer for over 30 years. His prizes at the Roland Worldwide Synthesizer competitions won him international fame in his youth, leading to projects with David Foster and Steve Porcaro.
His “Interstellar Suite” (Capitol/Cinema) became a landmark album for analog synthesizers when he created an orchestral epic without using any samplers. The sequel “Virtuality” was the first album to be endorsed by the Bob Moog Foundation. “Bolero Electronica”, Ravel’s masterpiece, is performed on 75 years of synthesizers in chronological order.
Though he now uses real players and orchestral ensembles in his writing, his days with a Roland sequencer and a Minimoog have given him an unusual insight into the subtleties of arranging and orchestration for both real and imagined instruments.
His tv scoring credits include “Anne with an E”, “Flashpoint” and “X Company”. Film credits include “Iron Eagle II” and “John Woo’s Once a Thief” as well as several IMAX features for award winning director David Lickley.
Amin has consulted for many synthesizer companies including Roland, Arturia, Spectrasonics and Sequential.
IF YOU WOULD LIKE TO BE A GUEST STUDY LEADER, please contact John firstname.lastname@example.org.
LISTEN TO PAST STUDIES @ https://soundcloud.com/toronto-ravel-podcast
NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.