Interrelationship of musical excellence and acoustical excellence: A case study of the Gewandhaus, Leipzig

Abstract

A study of changes in orchestral performance practice and repertoire in the Altes Gewandhaus and the Neues Gewandhaus (opened 1884) under the conductor Carl Reinecke was performed. A parallel study of changes in orchestral performance practice and repertoire in the Neues Gewandhaus was also performed when Carl Reinecke was succeeded by Arthur Nikisch in 1895. In the first instance, the orchestra and conductor are the same but the hall changes; in the second instance, the orchestra and hall are the same but the conductor changes. Both old and new halls were regarded as outstanding acoustically, but under Reinecke the orchestra’s reputation waned because of conservatism in programming and interpretation. Historical evidence shows that the orchestra went through a difficult period accommodating the new hall’s acoustics and emerged with a new sound. Yet, despite the hall’s excellent acoustics, the orchestra performed better in another, poorer, acoustic environment under the more dynamic conductor Arthur Nikisch. The orchestra only regained its international reputation later when Nikisch became conductor at the Gewandhaus. The study explores Nikish’s response to the hall’s acoustic possibilities, and suggests reasons why a hall with a relatively dry acoustic could be pivotal in the orchestra’s then becoming a foremost interpreter of the late Romantic repertoire.