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when you ask composers who their favorite composer is you get unusual answers regard Strauss for example wrote electra and Rosenkavalier and great tone poems till island spiegel's arrow through his favorite composer was Mozart Chekhov ski this great romantic who wrote music that was so passionate and so full of drama his favorite composer was Mozart you wouldn't think that and they use them a lot of Miss Strauss for example conducted Mozart a lot Tchaikovsky actually wrote a sweet code more Tatiana where he took Mozart pieces and orchestrated them in in the list version which is a little unusual but it was still multi but if you ask bright Shang the Chinese American composer I think he would say Brahms and he orchestrated this gorgeous piano piece opus 118 number two of Brahms in the Jeanette so to me this is more the inspiration I just simply used the Brahms piece that opus 118 number two which is one of my favorite piano pieces as a pianist and I made a arrangement to make the orchestra version the music is serene and tender and he uses the orchestra in a very interesting way so when I say orchestrate clearly that means taking piano music and putting it in an orchestra so if you have a single node on the piano you could play it on let's say four in the middle register could be on a noble or a trumpet or a clarinet or a flute or a violin or viola cello they could all play the same note you have to make a decision what do you want to convey to illuminate the music but also to keep it interesting so bright begins the piece using flutes and violins to play the melody in a very simple simple way this melody then gets played by the oboe and then with the flute after those repetitions of the melody the second melody comes in he puts this into the brass instruments a conversation between the trumpets and awards then the third section of the work begins and he again brings the tuna to the violence but he uses the harp as an accompaniment he uses pizza cot or cello bass to give it a little rhythmic interest something you wouldn't have normally expected from bronze of course I went a little bit beyond the Brahms orchestration I added some things that not traditionally the Brahms would do but I think added to the piece for example Brahms rarely used a harp in his music only few exceptions but most of the symphony orchestra works see never used are up so i used harp and the particular part that I used as a melodic part which is also quite unusual it's a little bit outside the problems typical ground style the corral of the brass is now repeated but this time in the strings and ends with a beautiful quartet awards the new material begins so now this is what we could call the middle section or the B section the new material begins with the flute and oboe playing the melody string accompaniment a lot of pizza coddle in the cellos and the violas again it's the kind of thing where I point out that pizza cutter you'll notice it but if I had not pointed it out it just seems organic it seems natural the repetition of this melody now is played in octaves between the first and second violin solo so it's just two players and a third voice kind of making it into a trio and this voice is the voice of the cello so this is a trio for two violins in a cello the repetition of that the third repetition of that melody is now done as a brash chorale halfway through he brings in the heart you wouldn't expect the harp to be part of a brass chorale but listen to this it's really quite magical next section begins with the strings playing in this very warm-hearted loud thick gorgeous way it leads us slowly back to a repetition of the very beginning of the piece this time done even softer and with more restrained this time I pull back and try to make the music just linger a little bit longer in a very soft and beautiful way again the brass chorale comes back as it did the first time this time instead of the strings repeating the brass corral he uses the woodwinds you what right does is he uses his tremendous sensitivity and musical knowledge and imagination to bring this piece to life without having analyzed it as i have it would be fine you don't need to know that analysis at all it is just gorgeous but knowing it just shows you the kind of work that composers do and I remember when bright told me he was working on this he thought it was going to be easy well it turned out to be quite difficult because he was very careful to try to make it seem and feel organic I try to use my imagination the color as a pianist when I performing in on the piano that I couldn't do because as a pianist we are thinking oh this is a noble playing there's a home playing in this and that so um so in my my orchestration of this arrangement and I try to bring out the colors that I couldn't do as a pianist he certainly wasn't trying to orchestrate it in a way that Brahms would know but it certainly is true to the spirit of the music you