The Orchestra.
By definition an Orchestra is a collection / coming together of musically adept people with intent to re-create a thought or emotion as captured by the writer or composer.
The name originates from the ancient Greek Theater after the apron between the stage and the audience, usually holding the narrator or translator of the author's intent and the watchers comprehension.
In order to unify the collective interpretations, and to accommodate the various performance abilities, there emerges a leader. Of late ( well since 1800's) this role has been divorced from producing the source sound; tasked instead with combining and producing the collective interpretation. This non-playing member of the orchestra is known as the conductor. Over time a standard layout of musicians has evolved, enabling composers to express themselves by using the known relationship of various sounds spatially, as well as for emerging musicians to anticipate the area of alternative sounds. (It must be mentioned that a third benefit is to allow self centered individuals an opportunity of employment !)
Bear in mind that when a musician 'plays' or makes music, the entire body and soul is drawn into the process. This is particularly predominant with most brass instruments.
Also, the sound created at the source, i.e. by the musician, is, to that player, the most prominent sound the players cognitive processes will identify is that which the player is playing. And so the Conductor steps up to put all these sound producing islands into a paradise that portrays the composer's purpose.
There are several reasons for the positioning of the instruments in a formal orchestral setting:
- The larger and more cumbersome instruments are situate at the outer edges of the collective to allow for efficient set up / break down of a performance.
- The higher frequency generating instruments are situate on the conductors left and fellow performers right hand side, facilitating the recognition by the left hand brain by co-players.
- The lower frequency generating instruments are set further back into the wings of a performance space, as their sound is not as restricted as that of a high frequency sound.
- Visually the more appealing sound producing instruments – the strings; are in front of the observers' range of vision.
Having said that, there is a growing school of conductors who postulate that the arrangement of the orchestra must suit the piece being played and that the layout of the orchestra changes to suit the interpretation of the composers intent.
Poignant facts about an orchestra:
FACT : The collective exists for a single purpose, and after that purpose is achieved is no more. FACT : All members follow instructions written in code, the code being musical notation. FACT : Mistakes are accepted and corrected by other members – an error does not stop production. FACT : The input from all members is equally important, irrespective of the proportion of overall product the input takes. In other words, the single triangle note towards the thirteenth minute of Tchaikovsky's 6th is as important as the thirteen minuets of Viola strumming up to it. Or the 3 cannon bursts are as important as the Violins build up for 7 minutes in the 1812 overture. FACT : Each member can only concentrate on their particular expertise, and none have absolute influence on the final product. FACT : The single performance consists of several rehearsals, as well as many hours of practice by every member. None of this preparation time is recognised at the performance. FACT : There are no internal dynamics that influence the output. FACT : The conductor is unquestionably followed, and the direction coming from the conductor is acted upon immediately. FACT : Having played a piece, that moment is gone forever.
How nice if our working environment could follow suite ?
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