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" <Dontaitchicago@xxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxx>
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:ARSCLIST@xxxxxxx] On Behalf Of Marcos Sueiro
Sent: Tuesday, April 04, 2006 9:30 AM
To: ARSCLIST@xxxxxxxxxxxxxxxx
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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