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Even as a non-profit, an orchestra has a financial responsibilty toward 
those supporting it if it wishes to survive.  It can't be built along side a 
bottomless pit or it will fall into it during bad economic times when its 
supporters may be under pressure.

The CSO owns the hall.  On days when it is not performing, the hall is 
rented as a concert theater.  That is a non-monopolistic booking situation 
in which it competes for attractions.  Othe venues with air conditioning 
have a distinct advantage.  Air conditioning is necessary.

The true issue is how the need for a/c was met.  I think it is safe to say 
that more concert hall alterations are unsuccessful than neutral, much less 
an improvement.  This is particularly so for older buildings.  A big cause 
of these failures is that rebuilding cancels some grandfathered in code 
violations.  Different materials, with different acoustical properties- 
densisties, etc., replace older, more confligration-dangerous ones.  Air 
conditioning removes cubic volume from resonant spaces. etc.

The art is applying science to accomodate these changes.  Even with the 
latest computer technology to assist the architect, most new and rebulit 
halls flunk.

In addition, the audience's expectations are partially derived from 
listening to records on various levels of equipment, made by engineers who 
have to accomodate a conductor who often wants the record to sound more as 
he hears it from the podium rather from the audience's perspective.  What 
recording does the architect use as a model?

Complex is an understatement

Steve Smolian








----- Original Message ----- 
From: "Don Tait" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, April 07, 2006 7:27 PM
Subject: [ARSCLIST] Fwd: [ARSCLIST] Fwd: [ARSCLIST] The waltz (was Which 
U.S. orchestra recorded ...


>  Brenda is correct. It's true that air conditioning was added to Orchestra
> Hall during the 1966 renovation, but the project was undertaken for far 
> bigger
> reasons. The majority were calamities, above all the idea that the sound 
> of
> the hall could be improved, whereas it was wrecked. But another was the
> practical one of giving the CSO members a reasonably comfortable backstage 
> space for
> themselves, which they'd never had. I remember standing on Michigan Avenue
> during the summer of 1966 and looking through the glass on Orchestra 
> Hall's doors.
> I could see traffic on Wabash Avenue, a block behind the building. 
> Everything
> in Orchestra Hall, including its stage and back wall, was gone. All was
> rebuilt and reconfigured during the renovation.
>
>  Don Tait
>


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"A sad tale of greed" ??????  With all due respect, let's get real here.
We're talking about a venue that seats over 2500 people and has over 100
musicians on stage in suits under hot lights. Any modernization efforts
would obviously include the installation of air conditioning.

Brenda

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Marcos Sueiro
Sent: Tuesday, April 04, 2006 9:30 AM
To: [log in to unmask]
Subject: Re: Fwd: [ARSCLIST] The waltz (was Which U.S. orchestra
recorded first and Arthur...

Chicago's Orchestra Hall when empty. The latter changed with the
> disastrous  renovation of 1966, which essentially wrecked Orchestra
Hall
> as a listening or  recording venue.)

I find it particularly poignant that they did it to add A/C so that they

could extend their season. A sad tale of greed.

Marcos



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