String Set up

Discussion in 'Trumpet Discussion' started by cornetguy, Jan 15, 2006.

  1. cornetguy

    cornetguy Mezzo Forte User

    Sep 12, 2005
    Saint Paul, MN

    How did the orchestra like the way Osmo set the strings up for Beethoven 9. I thought that it sounded really good and maybe even improved some things in the string sound. It was really neat to hear the 1st and 2nd violin phrases that echo each other to come from opposite sides of the stage.

    Beethoven 9 sounded fantastic in third tier right.


    ps for those that didnt see it, The strings where set up (left to right) 1st, cello (with basses in the back behind them) viola and second
  2. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004

    Hi, glad you made it to the show and it was nice to visit a little with Susan. I imagine she's very proud to be a member of that chorus. It's developed a staggering sound I enjoy hearing every time they work with us.

    The split violin setup is an historic one and works very well. It's taken some geting use to but, hey... we've had to get used to playing rotaries on all the classical stuff and the bones have been using altos and small bore tenors so, evrybody has had to shift their way of doing the classical and early romantic rep.

    They grumbled at first but now they're used to it. I like it. It reminds me of the way just about every orchestra used to sit until the '50's.

  3. Sophar

    Sophar New Friend

    Jan 30, 2005
    Manny are you still using the schlageler(sp) rotaries?

  4. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004
    dear Sophar,

    Yes, we're using the rotaries made by Schågerl from just outside Vienna. It took a while to get used to them but we've used them a lot since Osmo has asked us to.

  5. Rimshot

    Rimshot Pianissimo User

    Feb 14, 2005
    I'm just curious...

    In your experience, is it that conductors stop the Beethoven (or other classical era) rehearsal all of sudden, and express dissatisfaction with the sounds coming out of the brass, and then ask you to switch over to the "more authentic" rotaries, altos, Olds cornets, or whatever...?

    Or is it all pre-ordained up front, because they have long since decided what sounds best?

    (Could you talk any conductors into trying a few minutes of double-blind listening tests, and see what the result it!?)

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