Klarinet Archive - Posting 000060.txt from 2007/03
From: "Kevin Fay" <kevin.fay.home@-----.net>
Subj: RE: [kl] An interesting point of view
Date: Sun, 04 Mar 2007 23:07:12 -0500
Responding to Dan, again. Mostly I agree, but . . .
Dan posted:
<<<An orchestra is exactly and only that. The brass in Chicago are
no different than the brass in Seattle.>>>
Um, have to disagree here. I've heard both of them in the last 6 months, in
person. Seattle has a good brass section. Chicago's is qualitatively
better. Sorry, but they are - better intonation, no clam chowder, gorgeous
sound. They back up the hype about them most every time. They *are* that
good.
This doesn't mean that their sound is unique - only that their level of
performance is at a higher level than the Seattle Symphony. In May, the
Philadelphia Orchestra is coming to Seattle; I've purchased some
too-expensive tickets. I expect their brass to be at that same high level
as Chicago's.
Back in the 1960's, the folks in Philly invited the Brass Boys from
Cleveland and the team from Chicago for a little Gabrielli party. It
resulted in this:
http://www.amazon.com/Antiphonal-Music-Gabrieli-Girolamo-Frescobaldi/dp/B000
0029PE/ref=pd_bbs_1/104-1729246-9290353?ie=UTF8&s=music&qid=1173067469&sr=8-
1, which is one glorious recording indeed. No rehearsals, recorded in one
day, never bothered to tune up. It helpfully comes with a scorecard so that
you can tell which of the Brass Gods plays which part. Without it, you'd
never know.
<<<The strings in Vienna are no different than the strings in Philadelphia,
this despite the hype of news media.>>>
Probably not much. Perhaps one uses more vibrato, but a change in conductor
would fix that right quick.
<<<The idea of giving and orchestra a particular personality is
media doublespeak. It sells records and newspapers. . . . at the level of
the fully professional orchestra, I reject the idea that any of them are
capable of having their own unique sound. And if you disagree, you are
going to have to be specific and precise to be convincing.>>>
I think Dan speaks truth here.
Aside from certain "national" sounds that result purely by choice of
instrument - the French bassoon, for example - who the conductor is will
change everything in a heartbeat.
On the way to rehearsal, we had a chat about this very subject (brought up
by the list's discussion). Interesting opinions from non-clarinetists. My
wife (an oboist) says she can usually tell that an orchestra is Austrian
because the oboes that they use are really weird. My good friend Nels (a
horn player) says that the Austrian "pumpinhorn" also has a different sound.
Both agree that these differences are much *less* apparent with the VPO, if
only because the talent level of those guys overcomes the oddity of their
equipment.
One additional interesting factoid. Yamaha has started selling "Artist"
trumpets - similar pieces of brass tubing that sell for double the price.
They've developed a "Chicago" trumpet with John Hagstrom (of the CSO), and a
"New York" with Robert Sullivan (of the NY Phil). I'm not making this up -
see http://www.yamaha.com/artistmodelseries/index2.html.
Much to the dismay of Yamaha's marketing department, perhaps, Mr. Sullivan
scored the 1st chair in Cleveland. Maybe this will lead to a third model?
kjf
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