Today there is a blog-fest getting the word out about the musicians' side of the battle in the lock-out with the Minnesota Orchestra. You can find plenty of people writing about it - but I'm stepping outside that debate. I want to show you Henry Peyrebrune's blog, The Holy Grail, because he opened with a statement that I can never get quite right to people who ask me about my job as an orchestra player. He wrote:
To play well in a symphony orchestra is to make a thousand daily acts of deference. On your audition day, technical perfection and a sense of passionate musical conviction will put you at the head of the pack. Once you’ve joined the orchestra, those same qualities must serve the needs of the group, rather than your own musical ideas.
This is a funny line to walk as a teacher of some fabulous students who want to become orchestra players. Actually, if you're in a youth orchestra, you already ARE an orchestra player! We want to encourage you in your lessons to have a voice, express musical ideas, develop phrases, play with color and timbre, be free with time when appropriate, be strict with time when appropriate.. on and on. Make decisions, express yourself!
But then you find yourself in an orchestra and it's not your call anymore! This is not what happens in a chamber music group. That's way more like solo playing and you have time and fewer numbers of players so you can really discuss ideas, try them on for size, etc. So what do you do now? For starters, listen deeply. What kind of sound is your principal using? How much bow does she use on a particular phrase? Start there - see if you copy their bow placement and speed if your sound is matching. If not, go into your toolbox that you developed and figure out how to blend your sound into theirs. Do you need more weight? A slightly different spot on the string? In our orchestra, I will even change my strings or setup if my instrument isn't blending well. Actually, when I buy a new instrument, I spend lots of time trying different instruments out on stage, both in my section and listening to them play the bass back to me while I listen in the hall. It's more of a group decision than you might think.
The thing is, when you are studying and especially when you are studying solo repertoire, it's very important to develop your own voice and style and sound. But be a scientist and learn what makes the different elements of sound so that in an ensemble you can blend and change sound as the conductor demands.
So - you're working on a Vivaldi Sonata (or fill-in-the-name-of-your-solo-here)? Right now, you need to think about what kind of sound and stroke work well for that music and your instrument. Listen to recordings to get ideas - it's not copying, it's imitating. And that is one way we all start learning. Play for other people, with your ideas in mind. Then really listen to their feedback - how did they perceive your phrasing? Your sound? Beware putting words in the mouths of friends and colleagues! I try not to ask: Was that tempo too fast? Instead, I might ask "what did you think about the tempo I chose?"
Ok, this post is rambling on about too many topics. Oops! The main gist is: understand how your sound is produced and be aware of blending when in an ensemble. And then in your solo work, have something to say, and know how you're going to produce that sound too!
Happy practicing!
Gaelen
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