Klarinet Archive - Posting 000021.txt from 2007/03

From: "Keith Bowen" <bowenk@-----.com>
Subj: RE: [kl] klarinet@-----.org
Date: Sat, 03 Mar 2007 11:43:12 -0500

> Has anybody asked himself (or herself, of course) why the Vienna
> Philharmonic has retained at least some of its unique sound and aura?

I often ask myself such questions, not only about the VPO.

When interviewing conductors for a university orchestra some years ago, I
and the other musicians on the selection committee were struck by the
different SOUND that the orchestra made with the different candidates. We
picked the one (amongst comparably competent people) whose sound we liked
best. And I think we all experience different orchestras sounding different
with different conductors.

So this is something (unlike gender content) for which there is empirical
evidence. And I submit that the personality and body language of the
conductor, as well as the opportunity they have to shape the sound in
rehearsal, is the main determining factor. Another of course would be the
selection of players whose sound matches the aural preferences of the
orchestra selectors. It is natural and reasonable that selection of
conductors and players should be made within the VPO aural tradition.

And it is not as if the VPO is the only example. The Chicago Symphony has, I
think, a characteristic brass sound. It's one of the things they seem to
emphasize. It is not unique, not racial, not national, Dan! But obviously
some players sound different to others. Having once studied Alfred Brendel's
playing intensively, I find that about four times out of five I can
recognize his playing on the piano, when for example I hear a piano piece
"blind" on the radio.

Of course, maybe it's his male Viennese fingers ....

Keith Bowen

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