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Double Bass Role of Conductor

#21
For someone who doesn't play much orchestral music first hand, an obvious way to fully appreciate the contribution of the conductor, is to take a classical recording and get quite familiar with it, then listen to the same composition under a different baton.

Aside from the sound of hall and some aspects of the sound and approach of individual players and sections, most of the differences you hear (tempo, dynamics, rhythmic nuance, even tone and mood) should be attributable in large part to the conductor and his personal interpretive choices.
 
#24
Originally posted by David Abrams
I believe the Orpheus Chamber Orchestra began as a small chamber group and really has grown into an orchestra without a conductor.
Click to expand...

Last time I saw Orpheus, with Branford, they were less than 20 people.
 
#25
Yes - a chamber group like the Orpheus is very different from your typical symphony orchestra which may have 120 people!

I have CDs of the Orpheus and of course this kind of thing works with music from the period of Haydn, Mozart etc.

So - in that period, the role of the conductor was nothing like it is today - Mozart wouldn't have expected that his pieces would have needed a conductor - mostly written for chamber ensembles with maybe the keyboard player setting the tempo.

But in the later 19th Century and 20th Century - works for orchestra have become so complex that a condutor is essential. A work like Stravinsky's Rite of Spring with its huge forces and constant chages of time signature and tempo would be unthinkable without a conductor.
 
#26
Bernstein could interpret Mahler like very few others..while a larger than life personality..very talented.
Although, I've heard from people that have played under him(so to speak) in the long ago past that indicated that while he knew his stuff, his chosen verbage could rub folks the wrong way.

There is a good DVD of Zubin Mehta running rehearsal with the Israeli Phil, he was involved
with everything including listening to the final mixes.

Daniel Barenboim is a good Musician and Conductor.
I'm looking forward to the Lyric having Wagner's Ring Cycle sometime next year.
 
#27
I've heard Bernstein's Mahler - interesting - but I still prefer Simon Rattle!! ;)

I saw Sir Simon recently at the BBC Proms conducting the Berlin Symphony Orchestra in a great 20th Century programme which concluded with the Rite of Spring. Fantastic concert!

Interesting for the role of conductor as well - so the opening bassoon solo starts up - very quietly - then horror !! A clearly audible mobile (cell)phone ring tone rips through the acoustic. :rolleyes:

Rattle stopped the performance immediately with a very clear gesture - looked slightly annoyed. Then closed his eyes and composed himself, the orchestra and audience before re-starting after a minute or two.

Of course the performance got huge applause and many raucous calls for an encore - eventually Rattle acceded and quietened the whole crowd witha gesture, then made a wonderful brief speech which I will always remember, so he started by saying :

"This is the best place in the world for listening to music - but please, please tell all your friends not to bring those awful things in here!!"

He then proceeded to announce an calming encore...



I think the point is that the Conductor now - exemplified by Simon Rattle - is the leader of the orchestra in so many ways. He is artistic director, choosing the programme - Rattle insists on new works by many different composers as well as established ones.

But despite all this work behind the scenes - rehearsals - the conductor is ultimately "in charge" at the performance. Addressing the audience - even reproaching them where necessary!! ;)

So - without a strong-willed and decisive conductor - what would have happened with my
ring tone example? If it had gone unmentioned - everyone would have felt annoyed and dissatisfied that a great performance had been 'marred' - the orchestra and the audience. But with his quick action and calm manner, Rattle rescued the situation, enabled a complete "unspoiled" performance and if possible - further endeared hinself to the whole audience!! :)
 
#28
I've heard Bernstein's Mahler - interesting - but I still prefer Simon Rattle!!

I have a recording Simon Rattle leading on Mahler's 10'th..(of course adding his interpretation to what the ending might have been). Excellent work.....I've just within the lasyt year have gotten turned onto Simon Rattle's works.

I've also bought and subsequently dug some of the old Cleveland Orchestra/George Szell recordings..grainy, but powerful.

I'm a bit of a Wagner nut, finding older recordings of his works from Vinyl now on CD.
I really dig when the CSO covers his material, since they are known to be quite horn-heavy...nothing cooler than some jaw rattling brass!

I'm keeping an eye out for some good recordings on slightly lesser known Composers such as Zemlinsky, Korngold, Goldmark.
I've always dug the lesser-knowns work(s).
 
#29
Originally posted by fretlessb1

I have a recording Simon Rattle leading on Mahler's 10'th..(of course adding his interpretation to what the ending might have been). Excellent work.....I've just within the lasyt year have gotten turned onto Simon Rattle's works.
Click to expand...

Yes - I have that recording - it one of my favourites of the last few years - with the Berlin Philharmonic again - the same combination as I saw recently at the Proms - I have a feeling they are the best in the world at the moment...?

Anyway - that recording won many awards and was Gramophone magazine's CD of the year in 2000!!

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#30
Going back to the comments about Orpheus...

The reason music from the classical and baroque periods works well with an ensemble like orpheus is that there were no conductors at that point. Mendelsohn was, according to most historians, the "first" conductor. This allowed the music to become much more complex because there was a person on stage who's job it was to direct the whole fiasco. And thus, contemporary music was born.
 
#31
Originally posted by Bruce Lindfield
Yes - a chamber group like the Orpheus is very different from your typical symphony orchestra which may have 120 people!

I have CDs of the Orpheus and of course this kind of thing works with music from the period of Haydn, Mozart etc.

So - in that period, the role of the conductor was nothing like it is today - Mozart wouldn't have expected that his pieces would have needed a conductor - mostly written for chamber ensembles with maybe the keyboard player setting the tempo.
Click to expand...

Errr...didn't I say that already? ;)
 

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