We get so used to playing in an orchestra
and cutting through
ninety to a hundred different people.
That, the way we articulate
in playing for an orchestra,
often becomes an exaggeration.
It's very short,
very hard edged so that we can cut through.
When you have to play
in front of the orchestra either as a soloist
or when you're playing chamber music
and involved with fewer musicians
or when you're making an
audition tape
or CD.
Remember that, that you may be in a habit
of using orchestral articulations.
I remember,
when I recorded the Mozart horn concerti.
We started with the second concerto, K 417,
and we got through the first movement
and I went back to listen to the playback
and it was all very good horn playing but
over the top in articulations,
it was too aggressive,
too front ended.
As though I was sitting in the back of the orchestra.
If I had been sitting in the back
of the orchestra would have sounded just fine,
where those mikes were.
But since I was up in the front of the orchestra
by the violins,
it was too much for that distance.
And so we did it again
and I softened everything up
for that environment.
And so really look at the environment that you're playing.
Look at the distance before the mic.
Look at whether you're playing with piano.
Look at the type of music you're playing
and make sure that it just simply sounds good.