Summer nights, hot and humid, mean just one thing — it’s Proms season again. Sore feet, sweaty armpits, queuing outside the ladies loos, home on the Underground with a head and heart buzzing with Bruckner or Bacharach, Handel or Honegger. Just as special is the nightly feast on Radio 3 — a live concert, guaranteed every evening, and on top of that specially commissioned talks and literary events to get us thinking. On Sunday afternoon, in between the Mozart and Schumann performed by Bernard Haitink and the Chamber Orchestra of Europe (COE) at the Royal Albert Hall, Sarah Walker took us inside the working life of an orchestra. What does it take to create the particular sound of an ensemble of individual players? How important is the conductor? Who pacifies the hotel manager after the brass section has had a post-concert party?
In How to Start a World-Class Orchestra, Enno Senft, double-bass player and founder member, talked about the early days of the COE in the 1980s when booking players meant using a phone box on the street to make international calls.
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