Needs of musicians during performance, without electronic amplification, in Concert Halls and Opera Houses

Abstract

Drawing on experience of having listened to music in 60 concert halls and opera houses around the World, conducted experimental stage and orchestra pit modifications for live performance with audiences, analyzed the onset characteristics of musical instruments and their attack sequences; manipulated the distribution of acoustic energy using stage furniture with performer responses; and taught acoustics for 40 years, the author offers insights into the design of stages and orchestra pits for the performance of music without electronic amplification, in the context of his experience as a musician, architect, and engineer. In the orchestra pit of the Sydney Opera House: A second desk first violinist said he could not hear his instrument before the furniture was installed; and said after the furniture had been installed, “I am like thunder!” The tympani player asked, “What have you done? My instruments are alive!” In the Macquarie Auditorium, a violinist playing her Stradivarius violin said, “I used to dread playing in that auditorium now I am soaring.” The Australian Chamber orchestra refused to make a recording in the Gore Hill ABC TV Studio, without the stage furniture. What was done in several auditoria and responses from musicians is described in the paper.