About orchestras: please explain why a symphony orchestra might sound different under different conductors?

Question

What are some felicitous pairings: which conductors with which orchestras?

And do you think some orchestras play the music of some composers better than the music of others? Could you suggest why? And which orchestras are most at home with which composer?

Could you suggest how a conductor gets not only ensemble playing, but a specific interpretation, a specific sound? In other words, how is the communication made so the orchestra knows what the conductor is after?

Thank you for your thoughts

Answer 1

What a question.!

There are an enormous number of quirks in musical inmterpretation. Have you ever noticed that French Horns and trumpets in many European continental orchestras play with a vibrato tone, whereas British orchestras do not.

Composers indicate volume, speed and expression by a number of means, but speed, for example, can be difficult tro ascertain ditectly from the musical score unless the composer has indicated a precise tempo - crotchet equals 90 etc.

Volume (dynamics) is also variable - how loud is FF (very loud). Futhermore national characteristics can even enter the equation. Scots brass players tend to be very forthright in their playing, the French have an amazing command of light and shade, in crescendo and decrescendo, Austrian Horns are very melliflous and English players of the French Horn often stick their hands too far up the bell.

Expression is also difficult - appassionato (with passion) may have a diffrerent slant when applied by an English conductor than by an Italian maestro.

I have played French Horn in a Youth orchestra and in several amateur symphony orchestras, and Bflat horn, trumpet and flugelhorn in Brass Bands, and I have enough musical education to read a score. I find that that, as a rule of thumb, it pays to buy recordings of works played by orchestras from the same country as the composer. Debussy, for example is interpreted brilliantly by the Orchestre de Paris under Martinon.

Answer 2

It is all about interpretation. Yes, music is a bunch of notes - however, every conductor has his or her own interpretation of a specific music score. It takes years of study of music theory and being a student of multiple instruments before one can even be considered a conductor. Then, like in any field, the great conductors will rise out of the crowd.

The musicians in the orchestra are professionals and take direction from the conductor. The conductor and orchestra will practice together for many hours prior to any performances in order to allow the conductor to communicate his interpretation of a musical score and to allow the orchestra an opportunity to practice the way he or she wants it to be played. And remember, everyone in the orchestra are all reading sheet music. Each musician has their own parts and the conductor is looking at all parts so he or she can signal when each musician is to start playing.

I used to be play the French Horn and Trumpet in an orchestra and I can tell you that I respected all the conductors I had the opportunity of working with.

going to a live symphony is a great experience - everyone should goat least once.

Answer 3

A complex question, similar to one on here a couple of weeks ago. Here goes.
1) Live performances. These always go better under a resident conductor, or a very distinguished invited musician (say, like Barenboim or Mehta)The repertoire is usually immaterial (unless it is a little-known, complicated piece, which needs careful interpretation and plenty of rehearsals)
2) Recordings. Easier to perform as "takes" can be repeated to the conductor's satisfaction. Therefore, the conductor/ensemble combination is not so important. Rehearsal times are very limited, though.
On the whole, in this day and age, the standard of orchestral playing by major ensembles is so high that a novice conductor can shine in a live performance, but the "polish" is given to an orchestra by its resident conductor.
Hope that this helps!

Answer 4

A good orchestra does not need a conductor--Mahler

Orchestras can sound different under certain conductors be cause like theatre directors they can enthuse the players or simply annoy them.Most of the groundwork is done in rehearsal so the performance is the result of the work done in this time

Answer 5

The conductor is the key. Each person has their own interpretation of a song. How they conduct (motions, gestures, cues) is how they get what they want. Also, a conductor has to be able to communicate with the orchestra. One of the best was Toscanini. If you can find it, get a recording of Toscanini and the NBC Orchestra. and then listen to another conductor doing the same piece. it is in the conductor to make the piece his own.

Answer 6

Each conductor has their own interpretations of the music, and most of them will play it the way it was written. Almost all conductors, have to be able to write music not only read it, and they hand out the sheet to each player. Them may emphasize the strings, or brass, and some may do only strings, it depends on the conductor.

Answer 7

i said this when watching last night at the prom and my wife said i was Imagining it. now when she comes home I'm going to show her this question you have posed.i cant explain it but thank you very much for proving me right.