LETTER of the MONTH

STILL THE SAME

Symphony Hall, Boston

In his article ‘The home advantage’ (Opinion, October 2022), Edwin Barker states: ‘I am convinced that a major symphony orchestra’s sonic identity, its characteristic DNA, is determined by its association with its home acoustical environment.’ He mentions the Vienna Musikverein, the Concertgebouw in Amsterdam, and Boston’s Symphony Hall as examples of concert halls shaping the sound, especially the ‘elegant and rich’ string sound, of their respective resident orchestras.

I am a member of the Philharmonia Orchestra in London, which has always been (and still is) famous for its elegant and rich string sound (and for its overall sound too). Our main concert venue is the Royal Festival Hall in London, whose acoustics arguably, and unfortunately, don’t compare well with the world’s best concert halls. Despite this, my orchestra has retained its unique sound over the decades, and can produce it in almost every acoustical environment. In my opinion, therefore, the sound of an orchestra is not shaped by its home venue but by the traditions being passed down the generations.

KARIN TILCH

London, UK

LETTER OF THE MONTH WINS

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PERSONAL TOUCH

I would like to confirm Edwin Barker’s observations in his article ‘The home advantage’ (Opinion, October 2022). I have heard both the Berlin and Vienna philharmonic orchestras in their home venues and in each other’s (the Berlin Philharmonie and Goldener Saal respectively). The difference when they were playing ‘at home’ was extremely obvious: their sound naturally expanded into the acoustic in a way that it couldn’t when playing elsewhere. The most noticeable difference occurs when listening to the human voice: a choir sounds very different when performing in its own church, rather than being removed to a concert hall.

As Barker notes in his article, the expression of sound is formed from the language and traditions of every culture’s identity. For this reason, it is a great error (and a pity) if internationalism becomes our focus. There will be a loss in original qualities as all orchestras begin to produce the same, superficial sound. Perhaps the answer is to listen in the halls and churches, the primeval stones – maybe all the way back to the amphitheatres?

GISÈLE ORTRUN GRAHE

Florence, Italy

SILENCE, PLEASE!

ALTSTAEDT PHOTO MARCO BORGGREVE. SYMPHONY HALL PHOTO COURTESY BOSTON SYMPHONY ORCHESTRA

Having read Nicolas Altstaedt’s thoughts on Dvořák’s ‘Dumky’ piano trio (Sentimental Work, November 2022) I was excited to hear his interpretation of the piece. My heart leapt when I found a video of the performance he refers to in the article, with Barnabás Kelemen and Alexander Lonquich (youtu.be/24L36mBJn2c) but I was dismayed to discover their beautiful performance was spoilt by Altstaedt’s (above) near-constant voiceover, which meant the piece itself could barely be heard. One would think the record label would know the best way of promoting a recording would be to let the audience listen to it; the quality should speak for itself. I’d have nothing against Altstaedt talking over another recording, but the ‘Dumky’ is too sacred to be contaminated in this way!

GLEN DAY

Worcester Park, UK

A CALL FOR ALUMNI

The Lutherie 2023 conference, to be held at Newark Town Hall on 29 April 2023, will celebrate the 50th anniversary of the Newark School of Violin Making (right). As well as presenting a line-up of speakers to represent the huge range of talent of Newark alumni, we plan to mount a display about the history of the school. We’re looking for help; if you have any photos or other archival material (digital scans are fine), please contact us using lutheriedayuk@gmail.com.

We also hope to display as complete a list of names as possible of the students who have studied at Newark. We have made a good start by asking for the recollections of a number of alumni, but if anyone would like to ensure their name is on the list, please send your name and years of attendance to lutheriedayuk@gmail.com. The list will only contain the name of the student and their years of attendance; however, if anyone does not want their name included, please let us know at the same email address.

TIMOTHY SOUTHON

Norwich, UK

ONLINE COMMENT

Violin duo TwoSet Violin were recently loaned the ‘Empress Caterina’ and ‘Regent Superb’ Stradivari violins. Fans from across the world shared their congratulations and their appreciation for the superstar pair bit.ly/3O9N2xe ERIK HAMREFORS Well earned! ED HESSION Keep up the good work. You encourage us plonkers and keep us smiling while practising.

URSULA REDEKE Amazing! RHENA MARIE P. ADDATU Lucky dudes TRISTEN JARVIS Lucky, perhaps – but don’t miss the fact that these dudes have been some of the hardestworking artists in classical music for years! They deserve all the spoils.

www.thestrad.com

TOP 3 ONLINE POSTS

1 TwoSet Violin (below) loaned two ‘golden period’ Stradivari violins bit.ly/3AdSj1k