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Originally Posted by JackD I think so - so if you want a big germanic rotary-ish sound, you don't want the same articulation you'd use for the Ballerina's Dance, say? |
Right you are!
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Originally Posted by JackD I don't know if you're familar with Rod Franks, but he's one of the principals in the LSO over here. He did a masterclass at my college recently, and showed the way that for Mahler etc, the LSO brass section put a LOT of front on the notes, and come back - he said it made tuning easier, whilst still giving a big loud sound. He also said certain conductors (mainly mainland European guys) like hardly any attack at all - sort of a rotary effect. Is that the sort of thing you're talking about?
Boy, I've got a long way to go   |
Well, we approach Mahler only slightly differently here in the MO but each conductor asks for some a little different, too. And, you know, each Mahler symphony is a little different, too. Maybe it's best described that we, at the MO, sustain the body of the sound a little longer... hmm, hard to describe... . If you're at the proms in August of '06 you'll hear us do Mahler 5 and then you can tell me what it is we do!'
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Here you go: Brahms and Bruckner are butter, Stravinsky is wood, everybody is gold and silver.
I'm sure THAT really cleared it up for you!'
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ML