In this second excerpt from a forthcoming book on Musical Theatre, I was entirely thrilled to interview one of the best arrangers in the business. I have a number of heroes in this field, one of whom is the consumate musician, Larry Hochman.
This interview, which is really Part I of II, took place over several hours in a restaurant down on ‘Resturant Row’ in Manhattan earlier this year. Dissecting and transcribing this interview reminded me of the many pearls of wisdom Larry provided over a couple of hours of intense conversation. READ IT SLOWLY – or read it more than once – to gain the maximum benefit from what Larry imparts. You won’t regeret it.
LARRY HOCHMAN (Arranger / Orchestrator)
Larry has a TONY award and a DRAMA DESK award for Best Orchestrations for The Book of Mormon. His 4 other TONY nominations were for The Scottsboro Boys (2010, also Drama Desk nomination), Monty Python’s Spamalot (2005, also Drama Desk nomination), Fiddler on the Roof (2004) and A Class Act (2001). Orchestrations for Broadway include The Addams Family, The Scottsboro Boys, Fiddler on the Roof (additional orchestrations for the 2004 Revival), Jane Eyre, A Class Act, The Gershwins’ Fascinating Rhythm and Late Nite Comic, and additional orchestrations for Hugh Jackman – Back on Broadway, Shrek, and The Little Mermaid. Orchestrations for 18 films include Marvin Hamlisch’s The Informant!, Disney’s Lady and the Tramp II, Once Upon a Mattress, and Dead of Winter
KP: As an orchestrator, if you were only able to provide one piece of information to aspiring composers/songwriters, what would be the most pertinent advice you believe they should receive?
LH: Well, if the end result, I assume, is going to be played by an orchestra, I don’t feel that you have to crowd every measure with lots and lots of notes, and trust more in the sustain of the orchestra. Continue Reading →