The anti-humorous thing is it, that we care most for blending the sound at best, but studio manager, recording technicians, (deaf) conductors, orchestra manager dont care except for the budget. It happen so many times, that (special public TV companies) they show the wrong instruments at the wrong time during a TV-ed concert. It seems, that it doesn´t matter for them, if e.g. two completely different principal horns - really different, but equally good players - are scheduled for different sessions even without care for the pieces just begun the other day by the other player. It all does not matter, if the working schedule is performed & no one is missing. But sometimes, even the conductor changes (famous example: Alpine Symphony with the Bavarian State Orchestra conducted by Richard Strauss - 1941 - but the stage band conductor Walter Seifert conducted the second part of the symphony - there is evidence by a thanks letter written by then cultural minister Dr.Goebbels himself. I have seen the real letter.) .
So, if you get in such a situation, just play at your best, so you get invited again. Dont think too much, just be professionally & think MONEY-MONEY-MONEY. ============================================================ ==================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Saturday, July 08, 2006 9:11 PM To: The Horn List Subject: [Hornlist] Haydn/Dorati Hornists Message text written by The Horn List >Dorati's recording of the Symphony No. 51 is magical. Baumann's high horn playing is stunning. Those high F's are ethereal and pristine. Likewise the second horn solos are very rich sonorous. < Dear Eldon and List No doubt someone else will have commented but, the horn players for this recording were Ifor James and Andrew McGavin who were actually playing in a London studio listening to the rest of the orchestra through headphones (I spoke with Mr McGavin on the telephone about this a couple of days after Mr James died). The rest of the orchestra had of course recorded their parts earlier. It does beg the question - "how much can this be regarded as a performance?" I know of one recording by a famous orchestra where there is an oboe solo reputedly played by two different players. I was depping with this orchestra when their first oboe had gone off sick and, in the band room, the manager was discussing with a couple of woodwind principals who they should get in to dep in order to finish a recording which had been started the previous week. Their 3rd horn later told me that they had done a re-take starting with the end of an oboe solo and this had gone on the finished disc. I myself have played on a CD made months apart so that, for the first session we sweltered in shirtsleeves and for the rest, we battled to the hall through heavy snow. Cheers Paul A. Kampen (W. Yorks UK) _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
