Timining is key

Bruckner’s symphony no. 6

Phillip glass metamorphosis one

Vivaldi four seasons

Ennio moricone

Anticipation is key to my experience of classical music. Wheter it be Vivaldi, Bruckner or Philip glass. Timing is everything. Our experience was marked by an acute awareness of time. There was an astounding emphasis placed on time by the needs of the music. Even small aspects of our experience were affected by this need to precisely observe time. We were asked to arrive on the steps of Davies symphony hall promptly at 8:45am. This was at odds with the norm of meeting at nine then dashing off for fieldtrips around noon. We had to be punctual, the symphony waits for no one. Once inside every one around us was constantly checking their clocks. We were completely surrounded by clocks. Clocks counting down the seconds with a presence and immediacy that I had never experienced before. Rebecca and Deborah could not keep their eyes off of their watches, they are the administrators and must keep careful watch. Everything is timing in a symphony.
My emotional response to the built environment changed dramatically in my transition from the backstage world of the orchestra to the onstage world of the orchestra and then to the world inhabited by the audience. Behind the scenes is a hectic buzz, filled with the nervous anticipation of counting down every last second. Once on stage this nervousness seems to subside. The clocks are gone, left in the world backstage. From the stage the chairs in the audience seem few, the presence of the audience is subdued. This feeling was enhanced by the decision to place the first rows of the audience below the orchestra, this effect was enhanced by the lines diverging from the stage to the back of the hall. Thus creating a diminutive view of the audience and providing the orchestral players with a sense of confidence and prominence over and created by their environment. Once in the world of the audience I felt a new variety of excitement, this one was not tinged by any nervousness or stressful attachment to time. It consisted of pure anticipation. I was in no way responsible for the timing and execution of what was to come, I was allowed to sit back and enjoy. To let the music take over my mind and lead it in any direction. The immensity of the seating and central position of the orchestra was revealed to me once I was nestled comfortably inside my auditorium seat. The Design of the interior space delivered the Orchestral section to the audience in a form of grandiose immensity lending to my excitment and anticipation. This sense of the orchestra being larger than life may have been created by the opposite dynamic to what was felt when onstage. In the audience the lines of the auditorium converging to the stage creating a visual tunnel leading your eye to the focal point of the stage.

Davies Symphony Hall

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