※ 引述《KevinLan (Posaunenblaeser)》之銘言：
: 怪哉...
: 看大家都在準備期中考...
: 可是我還是無聊的在到處晃...
: 一點危機意識也沒有...
: 唉...
: 看來下學期沒錢拿了....~_~
好吧...
那勉強貼一些東西以免顯得閒晃的很無聊好了...
常聽 CD 的應該多少都會發覺維也納的樂器音色跟別人不太一樣吧?
那到底是怎麼樣的不一樣呢? 又為什麼不一樣呢?
以下是他們官方網頁的說明:
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The Vienna Philharmonic sees itself as having inherited the instruments
which still reflected the intellectual spirit and body of values which
prevailed not only in central Europe but to some extent all of Europe at
the end of the 18th century. The emergence of national colleges of
composition at the beginning of the 19th century led to alterations in the
way instruments were constructed in the different countries. The works of
the French impressionists and their underlying sound innovations required
not only modified instruments but also a change in the attitude behind the
music, which had been dominated all over Europe - at least until the
French Revolution -by the idea of musical rhetoric. In Vienna, this change
did not take place; on the whole Viennese music remained faithful to the
sound that originated from the Viennese classics, although there were some
developments.
The Viennese Wind and Brass Instruments
There are significant differences between Viennese wind and brass
instruments and those of other symphony orchestras: The fingering on the
clarinet is different, and the mouthpiece has a different form which in
turn requires a special kind of reed. The bassoon has largely the same
form as the German version, but with special fingering and reeds. The
trumpet has a (Drehventil) valve system and a teilweise etwas engere
Mensur (scale) (the finger holes are closer together).
The trombone also has a engere Mensur, which enables better tone color and
dynamics, as does the (Viennese F-) tuba, which also has different
fingering and valves. The flute is largely the same as the conventional
B垈m flute which is widely used all over the world. However, it did not
replace the wooden flute in Vienna until the 1920's. Here too, as with all
wind and brass instruments in the Viennese classics, vibrato is used very
sparingly. Up to that time vibrato was regarded as a form of embellishment
rather than a permanent way of beautifying the note and it was reserved
almost exclusively for the strings. It is interesting to note that an
increasing number of foreign soloists are rejecting vibrato as
stylistically inappropiate in their interpretations of the Viennese
classics. Of course, the Vienna Philharmonic plays vibrato in pieces where
it is intended as a stylistic element.
The greatest differences between Viennese and international instruments
are to be found on the Viennese (F-) horn, which has a engere Mensur, an
extended pipe and a system of pump valves. The advantage of these valves
is that the individual notes are not so sharply detached; smoother, more
bound playing is possible. Viennese horns are also constructed of stronger
materials than conventional horns.
The Viennese oboe, which is used only in Vienna, differs from the
internatioanlly played French oboe in that it has a special Mensurverlauf,
a special reed and special fingering.
With the exception of the flute and, to some extent, the bassoon, the
typical differences in tone of Viennese instruments can be described as
follows:
They are richer in partial tones, i.e. their tone is clearer. Viennese
instruments have a wider dynamic range, thus making greater differences
between "loud" and "soft" possible. Finally they enable greater
modulation: The musician can alter the tone color in many areas (weiten
Bereichen.)
The way an orchestra sounds is also a result of tradition and the sound
innovations produced over the years. The roots of the Viennese brass
tradition are to be found in Germany. Hans Richter played a vital role in
developing of this tradition, for it was thanks to him that a great many
philharmonic brass players were able to play at the Bayreuth Festival and
that numerous German brass players - mainly trombone and tuba players -
were engaged in Vienna.
Viennese Percussion
Viennese percussion has the following unusual features: The skin of all
the membranophones is genuine goat parchment, which gives a richer range
of overtones than man-made skins.
The Viennese timpano's adjustable kettle is pressed against the skin.. The
manually operated tuning screws allow greater tuning accuracy compared to
drums which are tuned with the feet.
Of the various types of drum preference is given to those which have a
cylinder with no drawbar/tie rod mounting Zylinder ohne
Zugstangenhalterung and can swing freely. Since these instruments
developed from clapperless handbells they are cast and not made of sheet
metal like today's instruments.
All these differences from other orchestras can be measured and shown
using digital analysis.
The Viennese Strings
In the field of the Viennese strings, who are justly famous for their
sound, in-depth studies have still to be carried out.. Although there is a
clearly perceptible continual development there is no fully standardized
Viennese violin school.
There can be no doubt that the Viennese string sections, unlike the brass
sections, are not of prime importance in producing an orchestra's
particular sound,. With a few exceptions, the quality is not outstanding.
The string section of the Vienna Philharmonic is more like a workshop in
the Middle Ages, where newly-arrived musicians are let into the secrets of
the orchestra's particular musical style and are made to feel at home with
it.
Thus the orchestral sound is created which essentially corresponds to the
sound that the great composers of the Viennese classics, Viennese
Romanticism and the Viennese School intended when they were writing their
works.
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◆ From: fourier.math.nt