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In the sixties, when John Barry worked in England, he usually did everything himself; I think he used an orchestrator on The Lion in Winter because of a time crunch. In America he used orchestrators because that was the custom.
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too. 
All but the conducting (which I probably should have mentioned earlier); the arranging, composition, orchestration, performance notes, keeping on certain instrumentalists about the way I want the music played...all me.
I studied conducting in university and have conducted a small string group and vocal group for a couple of short film scores I did in the late '90s. Most of what I write these days is for samples (blech) or else concert works that orchestra conductors handle (so not film scores).
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too.
All but the conducting (which I probably should have mentioned earlier); the arranging, composition, orchestration, performance notes, keeping on certain instrumentalists about the way I want the music played...all me.
I studied conducting in university and have conducted a small string group and vocal group for a couple of short film scores I did in the late '90s. Most of what I write these days is for samples (blech) or else concert works that orchestra conductors handle (so not film scores).
Let me guess, the blech is something you don't like to do but get paid for lol
I actually feel like I went a bit off topic, as I mostly write concert music.
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Some of you mentioned those composers who are "classically trained." I think I know what that means but I'd like to hear your a definition. Also, can those people who are currently in film scoring classes actually request and still get classically trained along with current compositional trends?
With "classically trained" composers I just meant those who have received (sufficient) formal music education and/or studied composition at a University, Conservatory or Academy or the like. These composers all know orchestration anyway, so if they rely on orchestrator, it is because of the workload; they make all the decisions concerning which instrument plays what and when themselves, they just need someone else to bring it into a ready to read and perform score. Their sketches are like music stenography, which an orchestrator converts, not embellishes. That's why these composers often keep working with the same orchestrator; they know and can read the composer's shorthand.
There are obviously lots of composers with other backgrounds, even composers who don't know how to read or write notes at all, or not enough to write for different instruments (or how to write for transposed instruments, what their range is, how they interact with other instruments, etc... all that stuff), so these would rely on an orchestrator to varying degrees to help them flesh out their ideas IF they are to be performed by an orchestra. It can vary from "hummers", who communicate their ideas to an orchestrator via "humming" or rudimentary playing something on an instrument for them, to actually accomplished musicians, who feel insecure writing for a full orchestra section (even if they know their way around a score or how to write for their instrument(s).
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Morricone he a phoney
Let others do the work
But he take all de money
That rhymes visually but not audibly.
Tough crowd
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too.
All but the conducting (which I probably should have mentioned earlier); the arranging, composition, orchestration, performance notes, keeping on certain instrumentalists about the way I want the music played...all me.
I studied conducting in university and have conducted a small string group and vocal group for a couple of short film scores I did in the late '90s. Most of what I write these days is for samples (blech) or else concert works that orchestra conductors handle (so not film scores).
Let me guess, the blech is something you don't like to do but get paid for lol
I actually feel like I went a bit off topic, as I mostly write concert music.
The blech was more having to use samples instead of writing for real musicians whose expressivity is infinitely better than the electronic version. Samples are a means to an end but they don't represent the orchestra the way it truly is. And I'm at odds with people who think they can learn orchestration by using samples. There too many pitfalls on that avenue. I recently attended a live performance of Shosty's Fifth and I marvelled at how different it came across even compared to high fidelity recordings. The piano tremolando at the most dramatic part of his slow movement is something I wasn't aware of even having owned recordings by Haitink, Previn (RIP), Bernstein, and Gergiev. But it came through loud and clear during the live performance. Shosty's harmonies also seemed much more clear and the biting dissonances were more prevalent. It helped that I was sitting over the low brass and strings (and piano) so I was very aware of them during the performance.
Anyhow, yeah, we've gotten off topic. If there was a PM section, I'd continue this there but seeing there isn't, you can always contact me at to continue this composer's discussion.
Now back to our regularly scheduled broadcast.
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too.
All but the conducting (which I probably should have mentioned earlier); the arranging, composition, orchestration, performance notes, keeping on certain instrumentalists about the way I want the music played...all me.
I studied conducting in university and have conducted a small string group and vocal group for a couple of short film scores I did in the late '90s. Most of what I write these days is for samples (blech) or else concert works that orchestra conductors handle (so not film scores).
Let me guess, the blech is something you don't like to do but get paid for lol
I actually feel like I went a bit off topic, as I mostly write concert music.
The blech was more having to use samples instead of writing for real musicians whose expressivity is infinitely better than the electronic version. Samples are a means to an end but they don't represent the orchestra the way it truly is. And I'm at odds with people who think they can learn orchestration by using samples. There too many pitfalls on that avenue. I recently attended a live performance of Shosty's Fifth and I marvelled at how different it came across even compared to high fidelity recordings. The piano tremolando at the most dramatic part of his slow movement is something I wasn't aware of even having owned recordings by Haitink, Previn (RIP), Bernstein, and Gergiev. But it came through loud and clear during the live performance. Shosty's harmonies also seemed much more clear and the biting dissonances were more prevalent. It helped that I was sitting over the low brass and strings (and piano) so I was very aware of them during the performance.
Anyhow, yeah, we've gotten off topic. If there was a PM section, I'd continue this there but seeing there isn't, you can always contact me at dcoscina@gmail.com to continue this composer's discussion.
Now back to our regularly scheduled broadcast.
You're so right on the superiority of performance. You might absolutely go crazy over one of Mahler's symphonies live. I saw the 9th awhile back...life-changing in person, really.
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Anyhow, yeah, we've gotten off topic. If there was a PM section, I'd continue this there but seeing there isn't, you can always contact me at dcoscina@gmail.com to continue this composer's discussion.
Now back to our regularly scheduled broadcast.
Because I know I'll forget, I'm at wagneralmighty@yahoo.com
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Morricone he a phoney
Let others do the work
But he take all de money
That rhymes visually but not audibly.
Morricone claims he does it all
Talk about gall!
Thatsa' lotta baloney
He a phoney
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If ever there was a composer,
who is for sure not a poser,
since he knows his stuff
and puts out no chaff,
it's the one who is named Morricone,
says the written in stone testimony.
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If
it's the one who is named Morricone,
says the written in stone testimony.
Not bad#
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I appreciate all the insights and answers. Seems pretty tough to find composers who compose all of their own scores and then orchestrates and conducts them. Time is certainly a factor. For me composing decent music is the most important factor. Also, I do love orchestrations. Various orchestrations of the same piece of music can affect our reactions.
Now here is the most important question of all. Is there any composer who can compose, orchestrate, conduct AND write his/her own poetry? 
Good discussion joan. The question I have is whether the successful composers we admire began their careers "doing it all" but eventually delegated some of these responsibilities due to their busy schedules, ill health of even age? There could be a multitude of reasons I suppose.
And shorter and shorter time allotments to write the scores.
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