Audible woodwinds for once !

[Ein Heldenleben]

One thing I’ve noticed with the frequent reduced orchestras at this years Proms, Performance on Three and the Afternoon Concerts is just now much more the woodwinds cut through. As for years I’ve been frustrated , usually at live performances, at their relative inaudiblity this , for me is a good thing . There’s a good example now in this final movt of Sibelius 5 on Afternoon concert - I can hear so much more detail. The Proms repeat of the Eroica the other night had a most delightfully audible bassoon throughout. Good to hear the skills of these players foregrounded for once though for some it might sound a bit odd. I don’t suppose it’ll last - aside from HIPP performances with reduced string sections.

[cloughie]

One thing I’ve noticed with the frequent reduced orchestras at this years Proms, Performance on Three and the Afternoon Concerts is just now much more the woodwinds cut through. As for years I’ve been frustrated , usually at live performances, at their relative inaudiblity this , for me is a good thing . There’s a good example now in this final movt of Sibelius 5 on Afternoon concert - I can hear so much more detail. The Proms repeat of the Eroica the other night had a most delightfully audible bassoon throughout. Good to hear the skills of these players foregrounded for once though for some it might sound a bit odd. I don’t suppose it’ll last - aside from HIPP performances with reduced string sections.

The downside is that percussion is often louder which is not always a good thing.

[jayne lee wilson]

Well a major point of HIPPs awareness was to correct the often string-drenched-or-dominated classical performances of the 20th Century and the lessons have been learned well, witness the many modern-SO recording now with exactly that more wind-friendly balance, stretching back decades, as the specialists like Harnoncourt applied their insights to famous ensembles in Berlin, Amsterdam etc. The COE Schubert set I enthused about recently is a prime example of such gorgeously audible and colourful winds, in an orchestra of about 60, recorded live in 1988. His 1997 Berlin Phil Brahms set evinces similar pleasures.

For many conductors this is surely second nature now, not a self-consciously historical projection. And or me, a absolutely necessary correction.

As you may know the COE also set down the only chamber-orchestral cycle of the Sibelius Symphonies, with Berglund - the last of his several cycles (on Finlandia, excellent sound). And quite a revelation it is, textually, texturally, in rhythmic agility and in many other musical ways.

(As for louder percussion - yeah, bring it on!)

[oddoneout]

It's a very steep learning curve for all involved I reckon. Empty spaces are different from audience damped ones, and spaced out players will be projecting in different directions from the normal formation, and again not damped by surrounding bodies. I have found it rather rewarding on occasion to hear some familiar music sounding very different, and not just in the ways that has happened previously - a conductor trying a different interpretation for instance.

[Ein Heldenleben]

The downside is that percussion is often louder which is not always a good thing.

Yes agreed - even a problem with a full orch sometimes ! I noticed that the timpani part in the Proms Eroica was more audible than usual. But as the principal timpani (I think) of that self same orchestra - the BBC SO - had recently been on COTW to explain why it why slow movt was favourite piece I was able to appreciate both his fine playing and his reasons why. The Strings of the BBC SO now on Afternoon concert sound a bit thin in number to be honest - very exposed.

[Ein Heldenleben]

Well a major point of HIPPs awareness was to correct the often string-drenched-or-dominated classical performances of the 20th Century and the lessons have been learned well, witness the many modern-SO recording now with exactly that more wind-friendly balance, stretching back decades, as the specialists like Harnoncourt applied their insights to famous ensembles in Berlin, Amsterdam etc. The COE Schubert set I enthused about recently is a prime example of such gorgeously audible and colourful winds, in an orchestra of about 60, recorded live in 1988. His Berlin Phil Brahms set evinces similar pleasures.

As you may know the COE also set down the only chamber-orchestra cycle of the Sibelius Symphonies, with Berglund - the last of his several cycles on Finlandia. And quite a revelation it is, textually, texturally, in rhythmic agility and in many other musical ways.

Didn’t know about the COE so thanks.
I think the reduced string desks are almost making orchestras become HIPP by stealth ! That Sib 5 finale sounded so different. The bassoon part of the Eroica , like that of the ninth , shows to me that LVB must have had a soft spot for this overlooked and underheard instrument

[jayne lee wilson]

Didn’t know about the COE so thanks.
I think the reduced string desks are almost making orchestras become HIPP by stealth ! That Sib 5 finale sounded so different. The bassoon part of the Eroica , like that of the ninth , shows to me that LVB must have had a soft spot for this overlooked and underheard instrument

Yes, and treated with affectionate and innovative restraint in the Op.20 Septet, as part of a lovely warm horn/clarinet/bassoon blend, hardly ever taking the bass part (largely left to the doublebass). Best heard on period instruments of course....