Instruments Don't Make Music--People Do!

[@charlescoleman5509]

There’s an apocryphal story about Jascha Heifetz. After a concert, he met a woman backstage who said to him “I really love the sound of your violin.”. Heifetz then put his violin up to his ear and said “Really?! I don’t hear anything.”

[@williamreynolds4435]

My shocking incompetence at reedmaking ultimately led to my throwing in the towel as an oboe student. I sold the oboe and bought a used car with the money. Then the car broke down.

[@soozb15]

aah reeds, the bane of my life

[@gardenphoto]

The amazing and unique French Horns used by the Wiener Philharmoniker - with only three "valves" and painfully small-circumference mouth pieces! - date from the early 19th-Century... and the absolute MASTER MUSICIANS who have played them never once proclaimed "We play with early 19th-Century period instruments"... not once! The VPO horn section is in a class all its own... because the MUSICIANS are beyond fantastic; the instruments themselves are but a secondary consideration.

[@michaelmurray8742]

The same topic crops up often in guitar playing. Some people comment on how great a guitar sounds with no regard to the person playing it. Give that same guitar to someone else and it could sound dreadful!

[@folanpaul]

Thanks David, the carpenter analogy really hit the nail on the head for me

[@christopherfogarty1877]

As a guitarist, I cannot tell you how many people I know boast about their guitar, only to hear their average playing. I cannot tell you how many people I have heard that sound amazing on $400 Mexican guitar.

[@ModusVivendiMedia]

I have definitely noticed this. Mikyung Sung sounds like Mikyung Sung no matter what instrument she's playing (though the instrument does change the sound too, and since she doesn't travel with her instrument, most concerts are on borrowed instruments). I also notice in demonstrations of instruments for sale from a bass shop, the player demonstrating the instrument changes the sound far more than which instrument is being demonstrated.

[@eddiegreschak9995]

Thank you so much for bringing out the emotional aspects of music and how we connect to artistry, love the hammer analogy, like the other commentator stated you've nailed it.

[@dmntuba]

AMEN, Maestro!!!! Not sure the outcome of it, but remember reading (in last couple years) that the "Queens Hall Orchestra " was being reformed/set up (like London really needs another band) but the musicians(woodwinds, brass, percussion) would perform on "period" instruments from late 19th/early 20th century. Abnormal is fine. Performances on old instruments (just because you can) is STUPID! 😂

[@LyleFrancisDelp]

Well, I agree here. It all depends on the players and conductor. For instance, many may "poo poo" this opinion, but I rather love the Goodman recording of Planets...not for the so called "original instruments", but I just think Goodman leads a very fine Planets and the orchestra responded to him quite well. Add to that, the sonics are quite good. Yes, I detest the selling point of this disc...trying to make the point that THIS is what Holst had in mind when he wrote the piece. I just dismiss that BS and enjoy the recording. YMMV, but that's my view.

[@richardevans3624]

The rock guitar god world, the expression is " the tone is in the fingers".

[@chadschulz380]

No one could ever convince me that the composer who wrote the 'Symphony for a Thousand' would have "intended" any of his work be played by a chamber sized ensemble on old, craggy sounding instruments. It might have been what he was stuck with during his era. However, all (most?) artists would prefer that their art be granted the biggest, grandest, BEST presentation available for the times in which it is being presented. So play these great symphonies as grand as possible each and every time if you want to show any artist's true "intent." Otherwise, what you are doing is simply offering up a history lesson.

[@njlauren]

I agree with Dave about the playing,that great music comes from great playing and conducting and that comes from quite frankly interpreting what the conductor wrote and if what is played resonates with what the composer wrote. The whole concept of playing it like the composer wrote it tries to turn it mechanical. Sure, a synthesized system can read the score for mahlers fifth, reproduce it exactly as it is written, and it likely would be horrible. Ever see a composer conducting their own works? They rarely play it entirely as written. With period instruments playing on late 19th and early 20th century instruments is crazy. There are small differences, violin strings were gut core back then ,wire wrapped or not, today most are perlon. But for the most part it makes little difference. Baroque and classical era instruments were often very different. Baroque violins used gut strings that generally are flat,can't stay in tune, the fingerboard was shorter and the bow went from concave to convex shape, and then the addition of the tensioner. The sound is way different, same with natural horns. Playing on period instruments would have a very different sound, so there is a rational basis for period groups. That said that doesnt mean that the period groups are more authentic, it just means they express the music differently. Bach would probably prefer modern instruments for his music, lot easier to get consistent sound and control what the piece sounds like. Beethoven would rage at someone who says ' You need to play a piano of that vintage to really capture what Beethoven wanted' , Beethoven would have called the pianos of his day crap and would have loved a Fascioli or Steinway or Bechenstein ( sp?). Obviously instruments do affect playing. Itzak Perlman could make a Chinese factory violin sound interesting,but no one would ever say it sounded as good as his Strad does. String instruments do vary a great deal, whereas if you buy a top end buffet clarinet, there is little difference in sound between the same model.

[@steveschwartz8944]

I wouldn't disagree with the major points. However, often players prefer some instruments over others. Why did Horowitz want specific Steinways when he concertized? I have an (insanely rich, apparently) acquaintance who had an Australian piano maker build him a 112-key grand piano with proprietary technology, more than 3 pedals, and special woods, etc., and that has to be a piano that a virtuosi would have to get their hands on. I don't know of any music that uses the extra two octaves, so perhaps that feature isn't all that useful. The owner has, however, called for composers to write for it. Maybe he'll get lucky.

[@JarrettWalksOttawa]

Do you prefer HIP ensembles when listening to baroque music?

[@DavesClassicalGuide]

Not as a rule. It depends on the performance. You have to consider each on its own merits.