 The Clarinet BBoard
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Author: Keil
Date: 2003-04-24 01:36
from what i understand in the past it was easier to distinguish orchestras from one another purely by hearing them due to each one's own characteristic sound and overall approach to music. Does this still apply and if so how would you characterize Boston, Philadelphia, Cleveland, Chicago, and the New York Phil now? Not to entirely limit the bboarders to just these select few feel free to discuss trademark sounds of any other orchestra. I'm curious to know how others hear them today as well as learn about how other orchestras, especially those in Europe and Australia come across aurally.
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Author: diz
Date: 2003-04-24 01:53
Hmm, it's a fine question ... I think with the "open boarders" policy of a lot of orchestras these days a unique identity is becoming difficult to verify. Having said that - an orchestra's sound is often unique (Vienna Philharmonic springs to mind) and also an orchestras' venue (Concertgebouw springs to mind) providing their distinct sound.
Knowing that every Friday night here, an Australian orchestra is broadcast (often live) - I can pick them, usually - Melbourne has a beautiful string sound (warm and very smooth), the Sydney Symphony is a worldclass ensemble also, but would either sound different if they swapped venue? Not so sure, I heard the Melbourne Symphony when they came up to Sydney on tour not that long ago and they still had their luscious, beautifully warm string sound (Iwaki lead them through "The Tomb of Couperin" - sorry my French is lousy and Strauss' Ein Heldenleben). My only criticism with Aussie orchestras is the horns are a little to brash and noisy - I prefer, personally, the warm sound of the Vienna or Berlin horns.
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Author: Synonymous Botch
Date: 2003-04-24 11:52
My teacher claims that "The room defines the band"...
To paraphrase, each hall has a reverberant flair in some part of the hall that the conductor must tame, and a dull spot that he must goad...
I heard the reconstructed Mahler 10 in Montreal and they shuffled through the preliminary Mozart Pianna concerto.
The band bloomed with the Mahler, and the strings that were formerly flaccid practically spoke as one.
The woodwind section was spectacular on both pieces, of course.
I suppose it's easier to play in time when there are fewer heads bobbing to the rhythm?
I heard two performances in the old Academy of Music and was disturbed by what appeared to be laggard playing. The same group played across the river at the New Jersey in what amounted to a barn (open space, seating in a 'fan' around the podium, no reinforcement) and the reception was immediate.
The same players that appeared to be dragging their bows were, in fact, flying to the attack.
One room dampened their sound, the other accentuated same.
If you want to hear a good recording of a tight band in a favorable room, check out Eiji Oue and the fabulous Minnesotans on Reference Records.
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Author: clarinetmama
Date: 2003-04-24 13:57
Thank you for mentioning the Minnesota Orchestra. I became friends with Eiji while serving on the orchestra's board of directors. It is interesting to talk to the members of that orchestra about the various conductors they have worked with. (The director of our local symphony plays bass with the Minnesota Orchestra) And I am curious how they will sound with their new Finnish director. This brings up the question, "Where are all the American conductors?"
Jean
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Author: HAT
Date: 2003-04-24 15:33
"Where are all the American conductors?"
Well, James Levine is MD designate of the BSO and conductor of the Metropolitan Opera. Lorin Maazel is MD of the New York Phil. Bob Spano MD of Atlanta. You knew Eji Oue. Michael Tilson Thomas MD of San Francisco. Andrew Litton MD of Dallas.
Of course, the Minnesota Orchestra has one had one American Condutor (Oue) as far as I know. Maybe it's them not us American Conductors?i
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Author: graham
Date: 2003-04-24 16:07
There's a strong tradition of US conductors working with UK orchestras, e.g. Slatkin at the BBC, Litton formerly at Bournemouth, Tilson Thomas at LSO, Marin Alsop doing a variety of work here, Previn (now admittedly quite transatlantic) at LSO and formerly the RPO.
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Author: Synonymous Botch
Date: 2003-04-24 16:32
Since the Sibelius Academy has put a premium on training of their charges in theory and Composition young conductors are given ample opportunity to sort out styling variants among the 20-odd professional orchestras plying their trade in Finland.
There are how many (6 million) people in Finland supporting this?
You get what the marketplace pays for... that's why we have tractor pulls.
Conductors tend to live longer (productive, performing) lives and since the domestic posts are filled, the grads audition everywhere.
Nice match, being a Finn amongst all the Minnesotans...
**********
Anyway, back to the 'signature sound' question.
The Troy Savings Bank music hall has tremendous accoustics as do some of the smaller, more modern venues. Cincinnati Conservatory has tremendous sound, and a credible orchestral study course.
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Author: clarinetmama
Date: 2003-04-25 03:58
Excuse me, but Eiji is Japanese and grew up in there. Either in Hiroshima or Nagasaki (one of the cities we bombed in WWII) Now that is a sad reference. He conducted in Erie, PA prior to coming to Minnesota and was a relative unknown. He is now working in Europe, mainly in Hannover I believe. And he is still conducting in Wyoming in the summer.
Take a look at the list of Minnesota Orchestra's conductors the past 100 years....Dorati, Mitropolous, Stanislas Skrovascheski (sp), de Waart, Marriner to name a few....not an American in the bunch. And, we are not alone. It begs the question, "Are we training music students to be conductors in the US?"
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Author: Mark Charette
Date: 2003-04-25 04:12
clarinetmama wrote:
> Excuse me, but Eiji is Japanese and grew up in there. Either
> in Hiroshima or Nagasaki
Hiroshima. Spent most of his professional life in the US. He may have dual citizenship; I haven't been able to find out for sure.
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