Prom 34 (13.08.20) Scottish Chamber Orchestra/Mackerras

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  • Alison
    Full Member
    • Nov 2010
    • 6470

    #16
    Did you go to many Sir Charles rehearsals, Makra?

    If so did he throw out many instructions to the timpanists?

    The parts always seem so well observed.

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    • Alison
      Full Member
      • Nov 2010
      • 6470

      #17
      Originally posted by Edgy 2 View Post
      If forced to pick just one favourite Mozart work I'd go for the String Quartet K387
      Must confess my knowledge of Mozart SQs very patchy

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      • makropulos
        Full Member
        • Nov 2010
        • 1676

        #18
        Originally posted by Alison View Post
        Did you go to many Sir Charles rehearsals, Makra?

        If so did he throw out many instructions to the timpanists?

        The parts always seem so well observed.
        That's such an interesting question. I did go to some Sir Charles rehearsals and remember two in particular relating to timpanists. One was in Brno in 1990 rehearsing the Janacek Sinfonietta with the Brno orchestra. The excellent Mr Vlk (timpanist) was playing the fanfares with felt sticks and CM soon had him changing to the wooden ones Janacek specified, though not without a bit of resistance (the player didn't want to damage the skins and so on). Friendly persistence did the trick, and the performance at the end of it was still the best I've ever heard live. The other was in London, using period instruments (I can't remember the orch). When CM decided that leather sticks were not crisp enough, he produced a pair of his own wooden ones from his bag, handed them to the timpanist and said something like 'you'll find these do the trick'. And of course they did.

        In other words: yes, the sound/timbre of timps was something he was always concerned about as part and parcel of stylish playing. Normally he worked with great players who didn't need telling how to achieve that, but even the best hadn't always thought of trying a particular solution. I remember a performance in the mid 1990s of Taras Bulba with the RPO at the Festival Hall where the timpanist used a terrifying pair of heavy wooden sticks –they looked more like clubs –which I suspect may also have come from CM (though I wasn't at the rehearsal, so I can't be sure). But I was in the front row of the Choir for that concert and the impact was extraordinary!

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        • Edgy 2
          Guest
          • Jan 2019
          • 2035

          #19
          Originally posted by Alison View Post
          Must confess my knowledge of Mozart SQs very patchy
          They are a treasure trove Alison,K 387 especially is a complete joy from start to finish

          “Music is the best means we have of digesting time." — Igor Stravinsky

          Comment

          • teamsaint
            Full Member
            • Nov 2010
            • 25226

            #20
            Talk of WAM has led me to notice that the Mozart 225 box is available on Apple Music, and doubtless other streaming services.
            K387 in the set is performed by the Lindsays, as it goes.
            Incidentally, those who invested in the box early on could be looking at a tidy profit if the Amazon prices are any kind of a guide.
            I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.

            I am not a number, I am a free man.

            Comment

            • Alison
              Full Member
              • Nov 2010
              • 6470

              #21
              Originally posted by makropulos View Post
              That's such an interesting question. I did go to some Sir Charles rehearsals and remember two in particular relating to timpanists. One was in Brno in 1990 rehearsing the Janacek Sinfonietta with the Brno orchestra. The excellent Mr Vlk (timpanist) was playing the fanfares with felt sticks and CM soon had him changing to the wooden ones Janacek specified, though not without a bit of resistance (the player didn't want to damage the skins and so on). Friendly persistence did the trick, and the performance at the end of it was still the best I've ever heard live. The other was in London, using period instruments (I can't remember the orch). When CM decided that leather sticks were not crisp enough, he produced a pair of his own wooden ones from his bag, handed them to the timpanist and said something like 'you'll find these do the trick'. And of course they did.

              In other words: yes, the sound/timbre of timps was something he was always concerned about as part and parcel of stylish playing. Normally he worked with great players who didn't need telling how to achieve that, but even the best hadn't always thought of trying a particular solution. I remember a performance in the mid 1990s of Taras Bulba with the RPO at the Festival Hall where the timpanist used a terrifying pair of heavy wooden sticks –they looked more like clubs –which I suspect may also have come from CM (though I wasn't at the rehearsal, so I can't be sure). But I was in the front row of the Choir for that concert and the impact was extraordinary!
              Excellent info, thank you so much! Trust Sir Charles to have sticks in his bag!

              Comment

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