Concert recording

Posted by: Wolf on 14 January 2006

Two nights ago I went to the LA Phil with great anticipation. They were recording the concert for a new contract with DG and it is going to be the first in the new Disney Hall. Salonen is under contract with them and LA Phil was back in the 80's under Giulini. So now they're back to home base which will be exciting to see what they do. The selections were to be the original Mussorgsky(sp?) version of Night on Bald Mtn. Lang Lang played the Bartok Piano Concerto. Then the signature piece of Salonen and the orchestra Stravinsky's Rite of Spring. The theme for the night was Primitivism in music.

I had tickets with my friends for behind the orchestra and really enjoyed watching the percussionists do their thing as we were about 20 feet away. We were warned to be still and turn off all electronic devices. Not applaud till the music died down at the end. It was interesting to see mikes all over the place, on stands in the orchestra and hanging from the ceiling. I was surprised that they weren't bigger, must have been 20 or so of 2 different types.

Night on Bald Mtn was great, very strange piece and not the lighter version by Rimsky Korsakov. It actually ended after satan's feast, no church bells or sunrise at the end. I they're not going to use the Bartok piece in the final product, but rather the suite of the Miraculous Mandarin also by Bartok and recorded later this weekend. There was a section of quiet music in the piano concerto where everyone who had to cough did so and in one section a cell phone went off, ruined that movement. The reviewer today in the paper said Lang Lang wasn't the best, but he was better than his usual out of control nature. I'm not a musician so I take his word for it. It was also quite muddled since the lid was up and we were blocked from the best sound.

Then the Rite of Spring. What an incredible piece that is. The corner stone of 20th C music. Stravinsky was really out there when he made that one and amazing it was first played in 1913 and still the leader almost a century later. Salonen has that one down pat. At times he looked like he was dancing to it or riding the wave of sound. Using just his hands, no batton. I got a good look at the timpanist. He alternated between several different sticks which gave different sounds and at one time used the handles for pure wood and a sharper edge to the drum skin. Also the French horns had another unusual brass colored horn at their feet and I only got to see one pick up at one point but couldn't detect the sound as it was at a crescendo with everything going at once. Talk about a wild ride, nothing better out there music wise. It'll be interesting so get the recording and compare it to what i heard. Some times I was so busy watching details of players actions that I was distracted from the pure emotional thrill ride it provides. I have a Boulez recording that is amazing but that's a studio production so hearing it recorded live again will be a thrill. Although, I'll have to wait for my neighbor to be gone because I'll want to turn it up real loud I'm sure. Talk about something to drive a neighbor crazy with. Something to keep in mind for next time she knocks on my door at 10PM wanting to talk about computer problems.

well, it was fun for a classical fan to experience. It's as close to outrageous as a Pink Floyd or Zeplin concert as you can get. Classical music is not dull by any means if you know where to look.

Glenn
Posted on: 14 January 2006 by u5227470736789439
Dear Glen,

I played that original version (on the bass, obviously and in Birmingham Town Hall and two other places) of the Night on Bare Mountain (origianlly called Saint John's Night on Bare Mountain) in 1991. It is MUCH more exciting than the re-orchestrations by other, even if it is definately rough as a sonority! Must have been fun to hear a grand orch play it! Abbado made a recording of it though I have not heard it. Fredrik
Posted on: 14 January 2006 by HR
quote:
Originally posted by Wolf:

... It was interesting to see mikes all over the place, on stands in the orchestra and hanging from the ceiling. I was surprised that they weren't bigger, must have been 20 or so of 2 different types.

Glenn


Glenn,

'The more the Better' is DG's philosophy of the number of microphones to be employed in a recording. I am sure they get really frustrated when they have to record a solo instrument.

Best regards,

Haim
Posted on: 15 January 2006 by Wolf
The great thing about the hall is its acoustics, lots of cement means good reverberation and the wood ceiling is warped down like billowing sails. There really are no straight wood walls tho they really don't account for the great acoustics as the cement does. They have holes in the ceiling for lights and microphone cords. I'm sure the design included the best recording equipment. The Night on Bare Mtn was really dark and rough, so primitive category fits it well. Same with Rite of Spring. After all when a piece is about sacrificing a virgin to bring the spring thaw you don't go to Mozart for that kind of melody. Pure visceral rhythum to drive the listener to the edge of his, or her, seat.
Glenn
Posted on: 15 January 2006 by u5227470736789439
Dear Glenn,

Sir Adrian Boult performed the Rite often in his days as chief conductor of the BBCSO (1930/49), and on being asked what he thought of it produced a rather characteristic and diplomatic reply:

"I am not sure it really celebrates the nicest aspects of sping." Marvelous old English understatement and wit!

Fredrik
Posted on: 16 January 2006 by Wolf
That is really funny, I had a good laugh, thanks you made my day Fredrik.

I've also heard of a comment from I think Solti, he said "NEVER look encouragingly at a brass section." too funny, but when you hear what the brass does in Rite you know why he said that.
Posted on: 17 January 2006 by kevj
Glenn,

The instrument being wielded by the Horn section was a Wagner Tuba, known affectionately by horn players as the "Blastophone". They make an incredible amount of noise, and are generally abosolute pigs to play in tune (or in some ways to play at all.....) but the sound they make is generally worth the effort.



quote:
I've also heard of a comment from I think Solti, he said "NEVER look encouragingly at a brass section." too funny, but when you hear what the brass does in Rite you know why he said that


This is a bit rich if it is from Solti, who generally asked the brass to blow their spleens out - listen to the finale of Rheingold form the Solti Ring and you'll see what I mean.

Kevin

PS Fredrik - I'm very pleased to hear your good news in the other place. Best wishes, and try not to celebrate too hard!!
Posted on: 17 January 2006 by graham55
The remark that you quote was originally made by Richard Strauss. In full, it is: Never look encouragingly at the brass, except with a brief glance to give an important cue.

Another of his goes: When you think that you have reached the limits of fortissimo, double the pace.

Graham
Posted on: 19 January 2006 by Wolf
Thanks kevj and Graham, good to get it all right.