Why do composers write 16th note runs clear up to high high A and down?
We’re currently playing Shostakovich Dances (2 Jazz dances, some walzes, etc.) and they are HARD. Some of these runs are ridiculously high and hard, with everyone playing at FFF, so it really can’t be heard. Meanwhile, the 1st flute is up playing piccolo notes, and we’re all just having a “real good time” :/ In fact, I need to look the fingerings up on Patty’s link (which is hard to find, but under “References” on her side menu.)
Some composers write high notes with purpose like Ravel. I don’t mind playing Ravel because it almost always adds musical value to the piece. But crap like this just annoys me.
Do you know any pieces or composers who regularly write high notes when the orchestra is at FF and you can’t be heard, i.e. for no apparent reason? Would love to hear other’s experiences.
Today I had to go to orchestra rehearsal. While searching for my favorite earphones, some $50 sony earbuds, I realized that I had probably lost them in the move, so I was forced to grab the normal sony earbuds that came with my CD player, similar to these.
Well, interesting enough, I heard much more clearly through the normal earbuds while I was listening to the Casals Festival CD featuring Tabuteau playing the Mozart Divertimento. It was like the clouds parted, and I saw the sunshine for the first time. Tabuteau’s inflections came alive, and I was able to hear every slight “up up up” and “down down down” inflection that he talks about in his Lessons CD. It was very satisfying.
One time I traveled down to Gangneung in Korea where I visited the Edison Charmsori Museum. The museum is the life work of a very rich Korean man who has spent an entire lifetime collecting Gramaphones and other items invented by Thomas Edison. One room he built was an acoustically perfect auditorium, equipped with some of the finest stereo speakers ever made (which are no longer made), and was incredible to sit and listen to music. (This man was also a classical music fan.) Unfortunately, the man was a big fan of Franz von Suppe and wasted the valuable opportunity to play of all pieces, Light Cavalry March. (I classify Suppe as one of those cheap trick composers. I despise playing his works. Maybe there’s a good one out there, but I haven’t come across it.)
Anyways, after listening to the Mozart today, I remembered what a tremendous difference good audio equipment can do, and I couldn’t help but think, “Dang, if I could only listen to this in Gangneung.
Listening to that CD, you also have to admire the tremendous job they did recording those CDs. They have beautiful intonation, beautiful ensemble work, and beautiful solo playing. Not to mention, you know they didn’t have the technology to slice and dice back then, and that what you’re listening to is a single take. It makes you wonder how many takes they took, and how tiring it must have been. (Can you imagine playing the Bach double concerto 2nd movement over and over and over again back to back to back? That’s a lot of chops!)
