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Originally Posted by brdwyguy
Originally Posted by BruceD
Originally Posted by brdwyguy
[...]
I am finding a lot of Community Theater Groups are now using these 'recorded' orchestra parts for their shows.
I find it a bit offensive and takes the theater aspect out of the performance.
but it's probably a necessary evil for groups on limited budgets and time.
No Orch, No Reh, No Pay! LOL

That's sad, but necessary in some cases, I suppose. I guess that's analogous to the Music Minus One (whatever that is these days) where the recording says: "You do it my way or you don't do it." Sort of limits interpretive creativity, doesn't it?

Regards,

yeh, that's what I thought!
It sort of pigeon-holes performers into the performances.


I think recorded accompaniment is a necessary evil in some cases. Communities that can't put together an orchestra can still put on a show. I guess "evil" is not the best word, because it's not, but it's a compromise of sorts. Limits creativity, as noted, but it's also not live, which is somewhat disappointing.


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Originally Posted by probably blue
Originally Posted by brdwyguy
My last post question turned into a discussion about Cats and such and it was very very frustrating trying to read thru
lengthy posts to find responses to a question I posted.

I'm not at all against discussions about Cats but to go on for pages with topics going way off subject for pages and pages is frustrating.
I was trying to head that off.

But it seemed to offend many others as well.
Sorry again.
Sorry bout that. Next time if someone ever does what *I* did ask to start a group chat if that’s possible.

At least we were still including piano stuff though

Have a nice day.

NO need to apologize probably blue
It just so happened that yours was the most recent
but many posts recently have been going way too far off topic
I don't understand why.
No need for you to formally apologize - Actually I should for 'over reacting' to the whole thing
people were/are obviously offended about the way I typed it. LOL

anyway appreciate the apology but truly not needed!
brdwyguy 3hearts 3hearts 3hearts

Last edited by brdwyguy; 05/09/22 02:05 PM.

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Originally Posted by Retsacnal
[..]
I think recorded accompaniment is a necessary evil in some cases. Communities that can't put together an orchestra can still put on a show. I guess "evil" is not the best word, because it's not, but it's a compromise of sorts. Limits creativity, as noted, but it's also not live, which is somewhat disappointing.

Perhaps we can call it a useful compromise. In the case of recorded accompaniments they can teach the soloist to conform to the accompaniment and not be the one to set the standard of performance. Such often happens in reality when the conductor of the orchestra is the performance "dictator."

Regards,


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Originally Posted by brdwyguy
What piano Brand is considered sounding/feeling Best for Broadway Musical Theater Music?

Steinway's, Bosendorfer's and a few others are considered strong for Classical Music
Yamaha's are considered strong for Jazz

All those brands are used for both classical and jazz. Oscar Petersen recorded a lot on Bösendorfer and Steinway pianos; Sviatoslav Richter preferred Yamaha.

I've conducted a number of musicals in German theatres. I can say two things about the keyboard instruments:

- All the pianists preferred to have an acoustic piano, not a digital one.
- The brand of the piano was much less important than its condition. In different theatres we've had Yamahas, Steinways, Bösendorfers, Kawais...: they're all fine for classical, jazz or Broadway, provided they're in good shape.


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Originally Posted by BruceD
Originally Posted by Retsacnal
[..]
I think recorded accompaniment is a necessary evil in some cases. Communities that can't put together an orchestra can still put on a show. I guess "evil" is not the best word, because it's not, but it's a compromise of sorts. Limits creativity, as noted, but it's also not live, which is somewhat disappointing.

Perhaps we can call it a useful compromise. In the case of recorded accompaniments they can teach the soloist to conform to the accompaniment and not be the one to set the standard of performance. Such often happens in reality when the conductor of the orchestra is the performance "dictator."

Regards,

"Useful compromise" is a good way to sum it up. Obviously, there are pros and cons involved. thumb


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I think the Bayreuth Festival uses Steingraebers. Not sure how relevant that would be for Sondheim or Rogers & Hammerstein...

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