Frequently Asked Questions
We have extended an invitation to the Friends of the NSO, and to anyone with an interest in the orchestra, to pass on their questions about music and music-making. There has been a very good response so far; some of them are listed below, with their answers. Others will be added here after publication in the Newsletter. As the page evolves, questions will be categorised for easier navigation.
Questions (click to locate answer)
Is there a difference between first and second violins?
What does the conductor actually do?
What standard do you have to be to join?
How do you find such wonderful soloists?
How many rehearsals do you have for each concert?
Free programmes. Lovely - but why?
Who chooses the pieces played?
Why do people sometimes have to wait a short time before they can join the Friends' Scheme?
How do I become a Friend of the NSO?
Is there a waiting list for players?
I don't like 20th century music. Am I missing something?
What is the age range of the orchestra?
I don't play an instrument. Can I get involved?
Why do orchestras wear such formal clothes?
Why does Sheri (the timpani player) have to bring her household dusters with her all the time?
What defines a Symphony Orchestra?
What is 'double' about the double bass?
Which orchestral instrument is the most difficult?
Answers
A wonderful variety; from those still at school to our most senior members, all walks of life are represented and contribute to our reputation as the "Not Stuffy Orchestra". Amongst our members are to be found doctors, farmers, housewives (and househusbands!), accountants, caretakers, former professional musicians, scientists, artists, solicitors, receptionists, IT specialists, nurses, teachers, colleagues who are not employed - the list goes on! What binds us together is a love of music and a desire to perform to a very high standard; players travel from all over East Anglia to make music in a colourful, sociable atmosphere. Why not come and see? Top
Is there a difference between first and second violins?
The second violin section usually plays in a lower register than the first violins and has more of a subordinate part to play. However, this doesn't mean that the second violin players are not as technically proficient as the firsts. Many players in the NSO are perfectly capable of playing in the "hothouse" of the firsts and it is absolutely essential that , as a section, the seconds contribute just as much in sound, tone quality and energy as the firsts. The total sound of the string section of an orchestra is heavily dependent on the two inner parts, second violins and violas, to provide the sonority of the full ensemble. Top
What does the conductor actually do?
After a recent concert, a young friend, not used to concert going, asked, "Jim, what are you doing when you wave your arms about?" The conductor's job is to prepare the orchestra fully in rehearsal, at the same time creating an environment where the players can give of their best. Any orchestra thus prepared in rehearsal is capable of playing for long sections of the music without intervention from the conductor. Indeed, it is essential that they can; it is only when this is the case that the conductor can begin to exert musical ideas. If all is going to plan, the players know when to play, how loudly or softly to play, who else is playing with them and how to phrase the music. That is all done in rehearsal. At a concert the conductor's task, apart from the obvious matters of starting, stopping, changing speeds and, in a concerto, following the soloist, is to inspire even greater efforts from his instrument, the orchestra. Further, it is the conductor's duty to the composer to adjust subtly the timing, the thrust and the shape of the music so that the result has integrity (to the composer) and meaning (to the players and audience). Top
What standard do you have to be to join?
To some extent this depends on the preferred instrument. As a rough guide, for string players a minimum of a good mark in Grade VIII of the Associated Board is required, although the NSO is always happy to consider players who have had orchestral experience to a high standard even if they are a bit rusty - they soon learn the ropes. For wind, horns and brass it is essential that players are outstanding, have lots of previous experience and nerves of steel. Top
How do you find such wonderful soloists?
It is a tribute to the standard of music-making in this country that there is a host of extraordinarily talented young performers from which to choose. The NSO hears about these by recommendation, word of mouth and from agents. The orchestra is particularly looking for soloists who, although young in age, have a track-record, maturity in their playing and who appreciate the opportunity to work in a friendly and committed atmosphere. Top
How many rehearsals do you have for each concert?
The concert season (September to May) is divided into four sessions, each culminating in a concert at the Corn Exchange in King's Lynn. The number of rehearsals will vary a little; it could be as few as four or as many as seven, depending on the technical demands of the programme being prepared. Having a specific number of rehearsals, published well in advance, helps everybody to plan ahead. It also provides focus in rehearsal, during which much progress is made.
Click here to see this year's rehearsal schedule. We don't rehearse during school holidays, so there's plenty of time for private practice, too! Top
Free programmes. Lovely - but why?
This is one of those schemes where everyone seems to benefit! Ideally, the advertising in any programme helps to offset the costs so that the programmes can sell for less. Businesses are keener to take space if more people see the adverts. More people have programmes (and therefore see the adverts) if the programmes are free. Therefore, if the NSO programmes are free, businesses are keener to advertise - and so revenue goes up. The costs can then be kept low enough for the NSO to give away free programmes. Good, isn't it? Top
Who chooses the pieces played?
The NSO's Music Director chooses the music in consultation with the Management Committee. It is his responsibility to be aware of just what his orchestra can (and can't) do. Regular listeners to the NSO will have observed over the years that the scope of the orchestra has widened and that the playing standard has improved dramatically. This is not just by chance; it is the result of an artistic policy that has been the vision of the orchestra's Music Director. Top
Why do people sometimes have to wait a short time before they can join the Friends' Scheme?
The NSO Friends' Scheme has proved immensely popular as it offers the Friends such good value. However there is a limit to the number of people who can be accommodated both at the Sunday Symphony Series and at the Friends' special events. With the extended stage in place, the Corn Exchange offers only about 670 seats. The NSO must ensure that the members of the Friends' scheme are able to get the tickets they require, and the orchestra is also keen to make sure that there are some seats available for the general public if possible. Careful monitoring is in place to maintain the right balance of supply and demand and so, from time to time, for the benefit of everyone, those wishing to become Friends' of the Norfolk Symphony Orchestra are asked to wait a short time before their application is accepted. Top
How do I become a Friend of the NSO?
Click here for more information about becoming a Friend. There is a waiting list in operation, but so far no one has had to wait too long before being able to join this very successful scheme. Top
Is there a waiting list for players?
The NSO has a few vacancies from time to time. Current vacancies are listed on the "Opportunities with the NSO" webpage. Why not give it a go? Top
I don't like 20th century music. Am I missing something?
In a word, yes - you are missing lots of wonderful music whose growing popularity testifies to its power to speak to the heart. 20th century music uses a much wider range of musical language than before and can be enormously expressive. To appreciate this, try listening to the primal energy of Stravinsky's "Rite of Spring"; the graphic portrayal of the horror of war in Britten's "War Requiem"; the overpowering emotional struggle in Shostakovich's 5th Symphony; or the tenderness, poise and sheer exhilaration in the various movements of Bartok's "Concerto for Orchestra", to name but a few of the recognised greats. Of course it's not all "easy listening" - Shostakovich's 10th Symphony is genuinely great music, but its unrelenting despair puts it decidedly on the "heavy" side.
The musical language is often very innovative and you need some familiarity with the language to appreciate the music. A good starting point may be to take some of the most widely recognised masterpieces and listen repeatedly to these until they becomes familiar to the ear. Remember the fate of three works by one of the greatest musical innovators. Critics wrote them off as "incomprehensible", publishers rejected them and even one of his firmest supporters wrote the back-handed compliment: "posterity will pay homage to you . more than we, your contemporaries, are able to" - a clear case of innovation taken too far? The works in question were the "Razumovski" quartets Op. 59 by Beethoven - now amongst his most popular.
Don't be put off if what somebody else calls "music" remains stubbornly a collection of squeaky doors for you. Tastes differ. (Or perhaps it IS just squeaky doors - like all centuries, the 20th produced much that history will soon consign mercifully to oblivion.) Start with the pieces and composers that you can most easily get to grips with. Who knows, you may later find that the odd squeaky door transforms itself into music. Top
What is the age range of the orchestra?
All ages are represented in the NSO membership. At the moment, the youngest player is 15 and the oldest reputed to be over 80! There is a good number of younger players - and new members are often surprised and pleased that the average age in the NSO is lower than in many similar concerns. Top
I don't play an instrument. Can I get involved?
Yes - definitely yes! But how involved do you want to be? The NSO is a very friendly concern with both players and many supporters feeling part of a vibrant and buoyant organisation. Everyone can follow the NSO's progress at concerts and via the website. NSO Friends also receive regular newsletters and have opportunities to meet the players and conductor. Many Friends also actively help the orchestra, either regularly or from time to time, assisting with such things as running the Friends' scheme, proof-reading, distributing publicity, helping on concert days, catering, transport and even woodwork! If you would like to find out how you might get more involved, why not click here now? Top
Why do orchestras wear such formal clothes?
At many times in the recent past, orchestras have tried different forms of dress for symphony concerts, attempting to change the perhaps old-fashioned image for a more modern and 'with-it' look. Black polo necks, patterned dresses (for the ladies, of course!), coloured shirts for everyone- all have been tried. So why have these new ideas not caught on? It seems that the traditional black, with a touch of white, sets the scene best in the concert hall for an event which is, in itself, somewhat formal. This unified (and subdued) look also doesn't interfere with the overall impact. It gives an air of stature and dignity as well as allowing the instruments to stand out more clearly against the homogenous background. Top
No. In fact, all pay a subscription to play. A good way to think of it is as "an evening class in orchestras"; it isn't just about turning up and playing. There is the opportunity to learn about the art and craft of orchestral playing, as well as the history and context of the music. Well worth the subs! Top
Why does Sheri (the timpani player) have to bring her household dusters with her all the time?
Ah, these are special dusters, not in the slightest acquainted with polish and the like! They serve several purposes, especially in combination with different pairs of sticks. Firstly, they alter the resonance of a drum. The NSO is blessed with a magnificent set of four copper-bowl, pedal timpani made by Ludwig, a world-class manufacturer based in America. Such is their quality that, when each drum is struck, the note sounds for a long time - sometimes too long. Covering part of the drum head with a duster reduces the resonance. This is particularly useful when adjusting to different acoustics and also when short notes need to be played in quick succession, with no time to deaden the drum with the fingers. Secondly, dusters can be used to create different effects; the muffled drums Berlioz requests in "The March to the Scaffold" are very different from the firepower required at the end of Shostakovich Symphony 5, for example. Look out for muted timpani in the third movement of Mahler 1, and the rapid removal of dusters as the final movement begins. Proper felt discs can be used to the same end, but I find dusters much more versatile and more reliable - they don't fall off so often! Finally, I will confess to giving the drums a weekly clean, to keep the heads free from grease and dirt - but that's a different set of dusters! Top
What defines a Symphony Orchestra?
The term 'symphony orchestra' is traditionally applied to a full orchestra containing a large body of strings, at least two of each woodwind, four horns, two trumpets, three trombones, tuba and timpani, with percussion and harp as necessary. This would total about eighty to a hundred musicians. This contrasts with a chamber orchestra which, with fewer strings and woodwind and no heavy brass, would total between eleven and forty players. The (chamber) orchestra of Mozart's era gradually expanded to the symphony orchestra through the times of Beethoven and Brahms, swelling to often massive proportions to cope with the music of composers such as Strauss and Wagner. Top
What is 'double' about the double bass?
The double bass, also known as the contrabass, is the largest and lowest pitched of the bowed string instruments, derived from its forerunner, the violone. It sounds an octave lower than the pitch at which it is written and, especially in Baroque music, often doubles (an octave lower) the bass line with the 'cello. You need a strong sense of humour to take up the double bass, as well as a strong arm to carry it around! Top
I've noticed the string players putting black things onto their instruments sometimes, then taking them off again. What are they?
The black object which string players fiddle with is called a mute. It is clamped on the bridge of the instrument and deadens the tone, producing effects that in one book are described as "dreamily romantic". It basically gives a lovely contrast to the more usual tone of the strings.
There are several types of mutes:
1) wooden - which are put on/taken off and then put somewhere if you have time!
2) rubber - which sit on the instrument all the time and are then slipped on to the bridge
3) metal - which are described as "practice" mutes - very big and heavy - and which make the instrument sound like a mosquito, so you don't disturb the neighbours!
In the music, the players will generally see the Italian term "con sordino" (con sord.) which means with the mute and "senza sordino" (senza sord.) for without. French appears as "avec sourdine" or "sans sourdine" and German as "mit Dämpfer" or "ohne Dämpfer". Top
Which orchestral instrument is the most difficult?
One of the NSO Friends posed this question recently and it is a very hard one to answer. Trying to discover the truth by asking the players, it was clear that many in the NSO were confident that there was no doubt. It was definitely the one that they played - and this response came from string, woodwind, brass and percussion players! Each player asked was able to put a good case for his or her own instrument, citing such things as technical requirements, stamina needed, solo demands, difficulty with reeds and complexity of music writing. And the timps are, of course, also the most difficult to transport! Top
James Stobart, Judy Swan, Jessica Berners, Christopher Finch, Sheri Rutland, Richard Williamson