Re: [AUDITORY] Offstage instruments

Some more brass ones:

Berlioz Requiem: 4 offstage brass groups

Lohengrin act 2 has 2 pairs of tpts; one pair on the stage and one pair off.

Verdi Otello & Simon Boccanegra: off stage tpts

Then we blur things a bit:

Siegried act 2 horn-call played off stage and the singer mimes on stage

Gotterdammerung act 2 has steer-horns also played off-stage and mimed on stage

Tristan act 3 has offstage alpen-horn (often covered by cor anglais)

Practically every Verdi opera has a banda that starts off-stage, crosses the stage and marches off again

Also two more marginal ones:

Monteverdi Vespers: thought (by some) to have been designed for off-stage musicians

Britten War Requiem has 2 orchestras, one of which might be thought of as off-stage

As a side note there are interesting and difficult issues of playing (at least the trumpet) off-stage. The sound comes across very flat and of course late: so you have to play very sharp and also early. Getting that right is tricky and I suspect that both can only be got properly right for listeners at some specific place.

From: AUDITORY - Research in Auditory Perception [mailto:AUDITORY@xxxxxxxxxxxxxxx] On Behalf Of Ian Cross
Sent: 18 September 2017 10:07
To: AUDITORY@xxxxxxxxxxxxxxx
Subject: Re: Offstage instruments

There's an offstage guitar in Berlioz's Béatrice et Bénédict which later appears again from the orchestra pit.

Best,

Ian Cross

On 17/09/2017 22:27, Renee Timmers wrote:

In Gluck's Orfeo ed Euridice, 2 chalumeaus and a few strings are playing off stage.

I have not checked this information, but have been told by a professional musician, who I asked about this.

Best,

Renee

On Sun, 17 Sep 2017 at 05:46, Arun Chandra <arunc@xxxxxxxxxxxxx> wrote:

I'm glad that people mentioned Mahler symphonies, but there's also his
very first orchestral composition "Das Klagende Lied", which has an
entire orchestra and chorus offstage.

And his 2nd symphony, in addition to having instruments offstage, also
has an offstage chorus.

arun

On 9/16/17 9:16 AM, Jonathan Berger wrote:
> and on a very different note - Turandot which has saxophone and organ
> backstage - an amazing timbre effect.
> - jonathan
>
> ---
> Jonathan Berger
> The Denning Family Provostial Professor in Music
> Bass University Fellow in Undergraduate Education
> Stanford University
>
> http://jonathanberger.net
>
> On 2017-09-15 11:06, Pierre Divenyi wrote:
>> I would definitely add John Cage's_ __4'33" ._
>>
>> Pierre Divenyi
>>
>> On 9/15/17 1:02 AM, Victor Rosi wrote:
>>
>>> Mahler's 1st symphony : Offstage trumpets in the first movement
>>> Mahler's 2nd symphony : Offstage brass ensemble (horns, trumpets)
>>> and timpani in the last movement
>>> Alpen sinfonie (R. Strauss) : Horn ensemble in the third part (The
>>> Ascent /Der Anstieg)
>>>
>>> You also have this kind of effects in Opera's such as Madama
>>> Butterfly (G. Puccini) : in the second Act "Coro a bocca chiusa"
>>> there is a viola d'amore playing with a choir offstage.
>>>
>>> I hope I helped, i'll try to find other examples.
>>>
>>> Good luck and keep us updated !
>>>
>>> Victor ROSI
>>>
>>> 2017-09-15 1:04 GMT+02:00 Niels Christian Hansen <nch@xxxxxxxxxxxx>:
>>>
>>>> Dear collective wisdom (with apologies for cross-posting),
>>>>
>>>> For a research project at Ohio State University, School of Music,
>>>> we are currently assembling a database of musical pieces in which
>>>> composers call for one or more instruments to be played
>>>> "offstage".
>>>>
>>>> Classic examples from the Western symphonic repertoire include:
>>>> (1) the offstage trumpet in Ludwig van Beethoven's Leonore
>>>> Overtures Nos. 2 & 3, (2) the offstage oboe in the third movement
>>>> ("Scène aux champs") from Hector Berlioz' Symphonie Fantastique,
>>>> and (3) the offstage female choir in "Neptune" from Gustav Holst's
>>>> The Planets.
>>>>
>>>> We would be very grateful for your kind help in drawing our
>>>> attention to as many other examples as possible that you may be
>>>> aware of!
>>>>
>>>> Thanks in advance,
>>>> Niels Chr. Hansen & David Huron
>>>>
>>>> Niels Chr. Hansen (PhD, MSc, MMus) | Postdoctoral Fellow in Music
>>>> Cognition | Cognitive and Systematic Musicology
>>>> Laboratory<http://musiccog.ohio-state.edu/ [1]> | School of
>>>> Music<https://music.osu.edu/ [2]> | Ohio State
>>>> University<https://www.osu.edu/ [3]> |
>>>> hansen.491@xxxxxxx<mailto:hansen.491@xxxxxxx>
>>
>>
>>
>> Links:
>> ------
>> [1] http://musiccog.ohio-state.edu/
>> [2] https://music.osu.edu/
>> [3] https://www.osu.edu/

--
Arun Chandra
COM 308A
The Evergreen State College
Olympia, WA 98505
office: (360) 867-6077
email: arunc@xxxxxxxxxxxxx

--

Dr Renee Timmers

Reader in Psychology of Music, Director of Graduate Studies
Department of Music, University of Sheffield

34 Leavygreave Road, Sheffield S3 7RD

Director of distance learning MAs in psychology of music

Vice President of the European Society for the Cognitive Sciences of Music

Music Mind Machine in Sheffield

Now published: Routledge Companion to Music Cognition

http://ukcatalogue.oup.com/product/9780199659647.do

--

Professor Ian Cross

Director, Centre for Music & Science

Faculty of Music

University of Cambridge

Cambridge CB3 9DP

www.cam.ac.uk/~cross