Author: cjwright
Date: 2015-02-19 07:05
@ Johannes,
I thought a lot about your 2 cents (which felt like a direct attack against me) and I just wanted to respond thoughtfully.
In an ideal world, yes, I would agree that this is ideal. It would be wonderful to play in an orchestra where everyone not only wants to listen to everyone (and work together and compromise no less), but also to discuss pitch levels, and genuinely make the best music possible. Sadly, I must state this isn't always the case in my situation. In fact, it's more of the exception.
My best short answer, is I think this really depends on the orchestra, the conductor, and the personally dynamics between the players.
Our orchestra is a complicated one, with most of the principal players being trained internationally. That said, about half of them are trained in the states and still tend toward A=440, while others are trained in Germany, Italy, Russia, Poland, or one of many other countries and prefer 442, or even 444. This already poses a problem. Furthermore, many of teach at the same university and for one reason or another (personal issues, or professional academic politics) there are several sections/principals that flat out refuse to acknowledge each other's existence, not to mention verbally communicate with one another. This does not bode well when trying to work together to agree to a common pitch level.
Secondly, I feel I should state that our conductor will not hesitate if one section is out of tune to ask me to play some note and have them build their chord upon my pitch center, even if it's an hour into rehearsal and the pitch center has changed. For that reason I feel I need the security and constant knowledge of knowing where to place my pitch, even if it's 20 cents sharp.
So to summarize, it sounds like your orchestras in Scandinavia are much more agreeable than mine, and I envy your pleasant work environment!
Cheers
Cooper
Blog, An Oboe In Paradise
Solo Oboe, Thailand Philharmonic Orchestra
|
|
The Oboe BBoard
.jpg){kind=small}
