Thursday 28 June 2012

Musicians - The Platform Manner

Sir Simon Rattle and The Berlin Philharmonic at the Royal Festival Hall


Mud From A Scraper
No. 5 in an Occasional Series


Aside from all considerations of individual and orchestral technique, there is a strict code of behaviour on concert platforms which has evolved through many generations of musicians. Failure to observe it results in the offender being branded as a beginner. The correct attitude of mind assumed by all members of orchestras is one of vague resentment, directed indiscriminately at the programme, which could be shorter, the management, which could be less grasping, the rest of the orchestra, which could be better, and the conductor, who could hardly be worse. No true professional admits to any enjoyment in his work, though the opus in question may be one of the few he really likes; should any aspect of contemporary music be mentioned in conversation, all remarks are of a deprecatory nature.

The correct posture, except for front desk players, differs from that which is taught at the schools of music. The left elbow of violin and viola players rests on the left hip or any other convenient object, and the right arm is held as low as possible. Cellists and bass players conform more nearly to the scholastic ideal, as it is not possible for them to hold their instruments any lower; instead, they lean on them in the most relaxed manner.

When there is a prolonged pizzicato passage, the violinist, and the violist, puts his bow on his knee, and either turns his instrument so that his chin is resting on its ribs, or lowers it altogether, supporting the scroll on his knee, with the button or end-pin, on the middle of his waistcoat.

It is generally understood that if the conductor wants any extra refinements, he will ask for them. Whether or not his requests will be granted is another matter. A professional rarely uses vibrato, save on the longest notes, and when particularly exhorted to do so. Anyone who does so too often is, again, branded as a beginner, because vibrato, besides being useless in many passages, is never specified in any contract, and musicians are specialists in the art of working to rule.

No-one normally uses a different style from his neighbour, as there is rarely enough room on a concert platform. Most performers habitually harass their neighbours for a few extra inches. Cellists are especially sensitive to lack of space, and indeed, develop a form of claustrophobia if any other instrumentalist comes within a bow-length of them.  

There are similar customs among the pit fraternity in theatres and opera-houses. Apart from never having enough room, the pit musician never has enough light, and constantly complains to management and electricians. In contrast with the symphony-player's preference for a well hidden position on the platform, the opera-player struggles to be placed near the audience, so that he can better watch the stage. Or when he becomes bored, which is his natural state, he amuses himself by fitting tunes of a frivolous nature to the accompaniments of the most impassioned arias.

The pit-musician will show interest only in the length of an opera. He may have a hidden preference for Aida, but will enjoy Traviata more. He may not have much sympathy with Puccini, but La Boheme is always popular. The Ring is unspeakable, and Meistersinger is beyond the pale. He only really likes one opera - Salome, which is over by 8.45 pm.


28 comments:

  1. Friko I am astounded by your intimate knowledge with the mood and requirement of the musicians. I have not known classical musicians – my husband knew a singer called Janis Joplin who played with a group called Big Brother and the Holding Company, but those musicians were certainly not in the same class! Next time I’m at a concert I’ll observe them and your notes will help me in checking them out.

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  2. smiles...you know all the ins and outs...very cool...i feel i am behind the scenes...

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  3. A behind-the-scenes look at the real life of an orchestra....it's like being in on a secret. Thanks for the peek behind the curtain.

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  4. Fascinating observations on a world about which I know very little. Next time I'm at a performance I'll be observing, too.

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  5. "The correct attitude of mind assumed by all members of orchestras is one of vague resentment." Priceless. Not to mention this: "should any aspect of contemporary music be mentioned in conversation, all remarks are of a deprecatory nature," which I particularly enjoyed, as I read this on the heels of writing an (uncharacteristically) impassioned response to comments on my "In C" post.

    Well, as you know, I love these "insider" musician posts. And here's the question: what might they think of Wozzeck? It, too, is only 1 hour 40 minutes.

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  6. But did you see the Bolivarian Orchestra!

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  7. A fascinating post about a world unknown to me. Thank you.

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  8. Scathing! Come sit by me, Friko.

    In my rock and roll days I always tried to “Mach schau, mach schau!”


    Aloha from Honolulu,
    and thanks for your comments!
    Comfort Spiral
    > < } } ( ° >

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  9. I know nothing whatsoever about any of that. Such a cultured lady you are. Thanks for sharing that with us. :)

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  10. Some very interesting insight there! I do so wish SP from Secretly Skint was still active in blogland; her comment would be the perfect addition to your post.

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  11. An flashing post! All got of you!I guess you liked the opera.

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  12. Well observed. But I am always rather sorry for orchestra members, I know quite a few and they do seem to be taken advantage of a bit. They have a sort of heirarchy inside the orchestra too. They remind me a bit of many jobbing journalists I used to know, that kind of world weary air and a lot of hanging around in places you'd rather not be, but underneath really glad to be doing the job!

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  13. Perfect! For more hours of harmless fun try watching the percussionist; their ability to sit looking bored for long stretches then to suddenly spring to their feet, bash a few kettle-drums, then subside once more into a bored trance is priceless.

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  14. I would not do well in an orchestra. I wear my heart on my sleeve and everyone knows how I feel every moment of the day!

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  15. A confession. Performing yesterday on the double bass I looked up to see the conductor raise her (yes, her) hands at the start to realise to my horror that I could see her clearly. I had the wrong glasses on. That's stagecraft for you.

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  16. Ein großartiges Orchester, man muss es einmal live geniessen...

    Lieben Gruß
    CL

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  17. Brilliant, Friko (and I presume Beloved had some input as well!) It's not only professional musicians who have the 'work to rule' attitude. either - I have a vivid memory of a final rehearsal of Haydn's 'Creation' in which I was singing the Soprano solo role, when we didn't have time to go through Part 3 as the (amateur) orchestra refused to stay a few minutes after 4.00pm as the concert was at 7.30pm, so the Adam and Eve duets were sung 'cold' at the performance!! Fortunately it all went very well - but that group of musicians weren't invited to accompany the Society again, I believe! It could have been a complete disaster. Aaah, memories!!

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  18. Did you really write this Friko? It seems like you are experienced in playing in an orchestra? A very interesting perspective - Dave

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  19. Strung up by their own petards!

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  20. How sad . They have feet of clay ... and wear run-down carpet slippers .

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  21. As a wren warbles outside my window, I ask can any music be more beautiful and less pretentious? Human musicians take themselves far too seriously in my humble opinion.

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  22. it's the same in bands. There's always one member that every one detests. Often its a member of the horn or rhythmn section - but it can also be the diva at the front warming up with "me me me me me" and standing infront of everyone during their solos

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  23. LOL I have observed these rules over the years but glad to have the particulars pointed out. Being a trumpeter myself, when not in use, one must hold the instrument in an upright position with the bell resting on the knee. And, of course, one never clears the spit valve in sight of the audience.

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  24. I felt as if I were reading an interesting music magazine article.
    My dad & I used to attend the opera together. Great memories.

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  25. As an ex bassoonist I was usually the only one in the orchestra or one of two sometimes, we had a little more space and there was luckily only one way to hold it. Plus we were always at the back of the orchestra.
    I always love looking down into the pit when I'm in a theatre, watching all the musicians is good fun.

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  26. Thank you, as ever, for expanding my horizons :)

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  27. Twice I attempted to respond to this post and had to abort the effort. I read this post the very evening our Opera season started with the usual big bang of a prior tailgate party. Those can be very elaborate affairs, where Opera goers may dress up in costumes appropriate to the Opera to be shown and dine on elaborate meals and lots of wine on the back of their pick ups in the parking lot, as the sun would set most often in glorious hues. Grand pianos have been towed to accompany the diners and set the mood, so the Santa Fe Opera is huge and usually an inspired affair. So for some mysterious reason now there is again a box for me to comment, but please know that I am afraid these difficulties may persist, maybe due to my outdated computer system. I did enjoy this post and appreciate your humor.

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