Klarinet Archive - Posting 000069.txt from 2007/03

From: "colin.touchin@-----.com>
Subj: [kl] orchestral sounds
Date: Mon, 05 Mar 2007 17:42:59 -0500

Well, Dan (if I may?), your own ears must have heard differences between
orchestral tone/style/manner so you're partly winding us up, of course.
What you ask for may not be possible, that is: language description of
sensations which are purely musical impressions, and may not be capable
of sufficiently precise labels for other listeners to share/agree/disagree
about the experiences at issue. There may well be measurable differences
using scientific equipment and numbers in certain scales and parameters.
But noone surely can deny that these differences exist however they be
measured/described? Why they exist, whether they exist throughout
centuries or happen at particular times in the development of ensembles
and managements and conductors is another point of direct relevance.

In the 70's I used to play several recorded orchestral samples in lectures,
asking students to identify the nationality of the orchestra playing (the same
work) - more than chance identified French, German and US/UK correctly.
I would say that this test done today with contemporary recordings would
not be so successful, because I believe the international exchange of
recordings, broadcasts and touring ensembles has increased exposure to
more possible sounds and equally limited the variation of those sounds.
Listen for an obvious example to French horns in Russian orchestras upto
about the mid-80's and many display a significant vibrato. After this time it
was possible to hear non-vibrato French horns in Russia.
In England our fine Simon Rattle and the City of Birmingham Symphony
Orchestra uniquely developed abilities to play French music with a French
style and timbre, and German with German, English with English, etc. -
adapting their quality of production to suit the composers' likely intentions.
Many orchestras use one general style and tone for almost all they play (it
saves rehearsal time!).
Interestingly the most French sound I have on disc seems to be The Berlin
Phil with Pierre Boulez in Debussy - the greatest conductor and orchestra
exploring the nuances of harmony and texture throughout refined
instrumental resources to create magical colours and effects. And also
dispelling the notion that that orchestra produce always one sound; but it
takes a master craftsman at the podium to make changes, to have the
knowledge and skill to mould the players' skills towards a composer's
imagination.
OK, so what is it that makes it French? - clarity of individual lines, balance
and blend of string textures, projection of certain wind colours inside
chords, etc. No description of the attributes, agreed, but pointers to the
areas in which my ear hears distinct differences from any other recording or
performance of the same piece. Further, the way accent and tenuto are
employed on individual notes at the starts and in the peaks of phrases to
show specific shape, different again from more prosaic readings. This in
wind terms done with carefully controlled breath, emphasis, decay of
sound, and in string terms, in bow weight, speed and pressure.
One can analyse momentary sounds, measuring and weighing their timbral
and textural make-up; one can analyse the additive effect successive
sounds create; and one can then compare these with other performances of
the same piece. Ultimately it is, inevitably, personal preference based on
our own experiences, of what seems to match our expectation and
understanding of the style and sound of French, German, Italian, Russian
sounds, etc. and all that pre-supposes we can access our personal life's
memories of sounds we have heard and made in the pursuit of musical
understanding and imaginative development.
That area connects with the other list discussion of gender: we all of us are
the result of our education and opportunity: different countries train and
prepare musicians in different ways - there are different expectations in
bowing, blowing, creating and re-creating sounds. Some countries are very
traditionally founded in their conservatoires and orchestral profession and
until the international influence of equality and integration reaches every
area from infant school through to adulthood, these differences will
continue to exist. Some of the results of this training will be audible,
because the performers cannot help but play in that tradition or with that
style of the colleagues surrounding them in those ensembles; and those
auditioning for new members of those ensembles will understandably listen
out for candidates who most nearly match the current sound, and will need
less adaptation time to become integrated.
Didn't Groucho Marx say something about membership of clubs?
Best wishes, Colin Touchin.

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