Quote:
Originally Posted by richardwy  Robin, what do you mean? Sorry for my obtuseness :) |
Richard,
any time artists are pressed into a mold, diversification and art suffers.
When I look at the American way, I see Bach or recently Yamaha as the only choices if you want to get a job with a symphony orchestra. In Europe, we have much greater diversification and do not have any blend or intonation issues. Jazz artists are not pressed into that box either!
I think it is unfortunate that the minds have become so closed that there is no choice. I don't think that a section of Wild Things, Eclipses, NYTC, Monette, Selmer, Courtois or even mixed piston trumpets would degrade any major orchestra. It would surely introduce new colors into the orchestral fabric though.
The premise that every professional player can get infinite colors with their horn is equal B.S.. There is a personal style of playing that is the players trademark, let us call this the elegance factor. Here the player can influence the fluidity, agressiveness or intimate approach to creating notes. There is also a basic "color" to any horn. A while back, there was a video of Manny playing 5 different Monette trumpets. Each had its own sonic signature - even with the very mature musicality and chops of Mr. Laureano.
I miss classical players in America trying to stretch the fabric. Even if they wanted to, most probably wouldn't be able to get away with it.
I know that we will get a reply to my post that the Bach sound is what the player has in their head, that is why they use those instruments. I say that is a load of BS. Most players were moved to Bach relatively early in their career and were "conditioned" to that sound. I was told by my college professor to buy Bach if I wanted to get a job playing.
I am not down on Bach or Yamaha, but wish the strive for security would be replaced by a willingness to be different, take chances, broaden the perspective. A start is using rotary horns for Mahler, Brücker and Wagner, and perhaps natural trumpets for Mozart and Beethoven. The players that do, generally have a lot of positive things to say about the experience........ Imagine a section of Olds Recording trumpets................
I do practice what I preach. I played Mahler8 last Febrary and the section used rotaries, Symphonic Dances from West Side Story and Tchaikowsky 5 with the Monette Bb, Holst Planets with my Bach C, Mozart masses, Beethoven9 and Haydn the seasons on the nat. It is FUN working out the intricacies of each instrument to get the best results. I feel the music benefits greatly. Early music reaps great benefits from a less massive trumpet sound with a bit more edge at lower volumes. I can only say, try it, you'll like it but know what the net result will be. sigh!
This has taken on rant proportions again and I am sorry.