Achieving the Softest Notes Possible Without Disappearing: Insights from Esa-Pekka Salonen

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With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

Esa-Pekka Salonen

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Esa-Pekka Salonen, a renowned conductor and composer, discusses the challenge orchestras face in achieving the softest notes possible without disappearing in grand concert halls. While these halls are designed to project sound, playing softly can sometimes cause the delicate notes to get lost before reaching the audience. Salonen highlights the artistry and teamwork required to play pianissimo and emphasizes the importance of creating a shared experience of the softer side of music.

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Meaning of Quote – With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

Esa-Pekka Salonen, a renowned conductor and composer, has a wonderfully insightful perspective when it comes to music and how it’s performed, especially by American orchestras. His quote is about the particular challenge orchestras face when trying to achieve a true pianissimo—that is, a very soft or gentle way of playing music—in the grand concert halls of the United States.

Imagine you’re in one of these huge concert halls, waiting for the orchestra to begin. As they start to play, the music swells, filling up the vast space with sound. The experience is mesmerizing! Yet, there’s a special moment you might really anticipate when the musicians lower their volume to a whisper-soft level. This softness in music is what musicians call ‘pianissimo.’

Now, why is playing pianissimo so difficult in these gigantic venues? Well, a lot of it has to do with the size and architecture of the halls themselves. Larger halls are built to help the sound of the orchestra travel all the way to the back, so everyone gets to hear the performance. But when musicians try to play very softly, sometimes their gentle notes can get lost before reaching the ears of the audience.

Salonen points out this challenge because achieving a pianissimo is an art in itself. It requires the musicians to control their instruments in such a way that they produce the softest notes possible without disappearing altogether. It’s a bit like trying to whisper in a crowded room – if you’re not careful, no one will hear what you’re saying.

Playing pianissimo takes a lot of practice and teamwork. Each member of the orchestra has to be perfectly in sync with the others, adjusting the volume of their playing while still making beautiful music. Imagine a painter who has to use the lightest shades to add detail to a painting without the colors fading away. The musicians have to do something similar, but with sounds.

In these huge halls, sounds can bounce off the walls and ceiling in complicated patterns. This can be great when the orchestra is playing loudly and you want the sound to bounce around and fill up every corner. However, with pianissimo, the goal is to be subtle and not bounce too much.

Additionally, conductors like Salonen have the tricky job of guiding the orchestra through these quiet moments. The conductor acts like the captain of a ship, steering the musicians through the waves of music. They have to be even more precise and clear with their movements when asking for pianissimo, to make sure every musician understands and can play their part just right.

   

There’s also the audience to consider. Imagine if you were holding your breath so you could hear a secret. That’s what audiences often do during pianissimo sections – they become super quiet, almost not daring to move, so they can catch the magic of those tender sounds. It creates a special bond between the audience and the musicians, a shared moment of stillness and beauty.

So, what can orchestras do to meet this challenge? They have to adapt their techniques when they play in these large spaces. They might use different ways of touching the strings with the bow if they are string players or control their breath differently if they play wind instruments. Even the percussionists, who might have to produce the softest tap on a cymbal, need to practice control.

Also, orchestras often adjust the way they sit or arrange themselves on stage. They might move closer together so they can better hear each other’s pianissimo playing, which helps them stay in sync. It’s similar to sitting close to your friends when you’re telling secrets – you want to make sure everyone can hear every word.

To make sure that everyone in the audience, even those sitting way back, can experience the music as intended, concert halls sometimes use acoustic enhancements. There might be special materials on the walls that help absorb or reflect sound in the right way. And in some cases, microphones and speakers might gently amplify the orchestra’s pianissimo passages without making them sound unnatural.

It’s important to remember that music is not just about the notes themselves but about the emotions they convey. The contrasts between loud and soft, between the grand and the gentle, help tell the story of the music. That’s why achieving a true pianissimo is so important and so celebrated when it’s done right.

Salonen’s insight sheds light on an essential aspect of musical performance that might not be obvious to everyone. It’s not just about playing the right notes – it’s about creating an experience, an atmosphere. It’s about making sure that every whisper of the strings, every gentle breath of the flute, and every muted beat of the drum has a chance to be heard and felt.

So, the next time you find yourself at a concert listening to an orchestra tackle the delicate balance of a pianissimo, think about all the skill, concentration, and teamwork involved. There’s a whole world of effort behind those quiet moments that, thanks to conductors like Esa-Pekka Salonen and the talented musicians who work with him, result in a beautiful, shared experience of the softer side of music.

   

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