By Cynthia Ellis
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| Cynthia Ellis |
Teamwork is a word we often hear applied to the business world and to
that of the professional athlete. Since so much of our musical life is
spent alone practicing or auditioning, it is easy to forget that making
music is essentially a collaborative art which requires a very specific
contribution from each member of the team. The flute section is a
specialized team within the larger framework of the woodwinds, which
interface with the rest of the orchestral brass, strings and percussion.
If your work involves any other audio or visual components, such as a
ballet, opera, or film, you have an even larger team of players. This
ever-expanding network of artistry pulls together to deliver the
finished product for our audience to enjoy.
Each member of the flute section has a unique contribution to make
towards the finished product. The piccolo chair is one of the most
unique positions in the symphony orchestra because often you are acting
as a section player and a soloist within a single work. For example,
Bartok’s Concerto for Orchestra contains some of the most delicately
demanding piccolo solo passages that alternate with low 3rd flute
passages, designed to blend rather than stand out. The player needs to
recognize the difference in these kinds of writing for each instrument,
adjusting the blend and balance as the lines dictate.
Many composers, particularly in the 20th century, write for multiple
piccolo players. Shostakovich is a prominent example, but there are many
other piccolo duets in the romantic repertory as well as the
post-romantic writings of Strauss and Mahler. The question as to which
player would play which part often arises. Many times there are not set
designations on 3rd flute/piccolo and 4th flute/piccolo parts to
indicate which part contains the lead, or 1st piccolo part. To make
matters more confusing, there are no universal rules to determine this:
it needs to be handled on an individual basis. For instance, Symphony #
4, by Gustav Mahler, is scored for 4 flutes, with two flutes doubling
piccolo. The most prominent piccolo solos are contained in the 3rd
flute/piccolo part. Mahler’s Symphony #3, also scored for a flute
section of four players, all doubling on piccolo at some point, has the
most prominent piccolo solos written into the 4th flute/ piccolo part in
the Kalmus edition. In Mahler’s Eighth Symphony, the ‘Symphony of a
Thousand’, the score demands huge forces on stage, including a flute
section of six players. Parts one through four are for flute only, with
flute 5 doubling on first piccolo, and part six is listed as second
piccolo, no doubling. There is a very exposed solo doubled with the
celeste in the 5th flute (1st piccolo) part at measure 199. This part is
doubled in the 2nd piccolo part but is often played only by the 1st
piccolo player as a solo.
If there is any doubt as to which part should be played by whom, a
thorough investigation of the score can reveal the location of the solo
passages which should be played by the piccolo specialist regardless of
the numeric ranking (1,2,3,or 4) of the actual flute doubling part.
Listen to the principal flutist for cues of balance, pitch, style and
articulation. The principal player is also responsible for setting the
general dynamic level and timbral qualities of the section. Never play
with a more intense or intrusive vibrato than the rest of your section.
As the highest voice in the orchestra, be especially careful to match
lengths of articulated passages: piccolo players do not want to hold
releases past the flutes. You may need to articulate lighter and more
crisply to match the timbre of orchestral bells, a frequent color
combination.
Intonation on the piccolo is critical. Work with a tuner so you know
the particular tendencies of your instrument. This is a great help when
you begin to work within the orchestra. Many composers use the piccolo
as a color addition to blend with the violin section. You will find that
you need to adjust your intonation slightly higher, especially if you
need to match a high harmonic in the strings. Using alternate fingerings
to shade and blend is also very helpful.
Another aspect of teamwork within the section involves warm-up
etiquette, especially in scoring that requires multiple piccolos. Try to
find a quiet area backstage to check intonation in unison passages. It
will be much more productive for you to work in this manner and more
pleasant for those seated around you. The second violins will be
especially thankful for your sensitivity as they are your closest
neighbors in most orchestral seating arrangements. Using a bit of common
sense when testing passages can go a long way towards improving the
disposition of your colleagues. Many orchestras provide a separate warm
up room for the brass section that keeps the volume of the backstage
area more conducive to quiet work. Ask if you can use this special area
if there is something particularly powerful that you need to try. Common
sense also dictates extra sensitivity when working in close quarters in
an orchestra pit. Testing every high passage in full voice during a
warm up in the pit is not necessary: go backstage to do your personal
preparation and the atmosphere of the pit will be so much more pleasant
for all seated nearby. Sometimes being a good musician is a lot like
having good manners: you need to put the needs of fellow musicians
higher than your own needs. Remember also some of the basics of
orchestral manners: never play anyone else’s solo, and to never turn
around to see who is playing during a performance. These are considered
breaches of etiquette in every professional situation. Most
importantly, be supportive of all your colleagues, especially those in
your flute section. The greatest musical experiences are not found in
solitude, but through the collaborative efforts of the orchestral team.
We are truly stronger when unified, and enjoying the fine work of our
colleagues is a great part of the orchestral experience.
Although our teams don’t score goals or points, we can certainly all
pull together for an art form greater than any one of us alone, music.
