| In the best scenario, the conductor should be of great aid in this regard. That depends on the taste and ear of the maestro, however. With Osmo, he is very attentive to dtails like clarity of articulation. If it's not what he hears in his head he asks for it, plain and simple.
Past that, a good, experienced principal player needs to bring some initial ideas to the table. I couldn't stand to work as a principal trumpeter if I had to depend on the conductor for all my playing. I have to have some responsibility! Otherwise, I won't feel like I have any ownership. It, once again, boils down to training and taste. You'd really have to as people that know my playing close up and from the audience if my approach is different, I really couldn't tell you. I react to my envronment. Just like when I go back to NYC and hang with my friends, my accent changes from when I'm here in my new home of Minneapolis.
Context, context, context.
ML |