In the process of working with an orchestra, the conductor should care about the main principle of performance of the orchestra – over the expression, which is, correctly and convincingly reflect the content kui or works.
The head shouldn't remain indifferent in relation to the work in which there will be no most important – art expressiveness.
For example, according to V. Sokolov, a similar performance of a musical work can be compared with painting, where carefully examined every detail, masterfully depicted each subject, but not feel the connection between them, sealed the contents, not the revealed mood, and hence not created a work of art. And in orchestral to culture. To kui or work excited the listener is not enough technically correct to execute it. Necessary that it sounded artistically expressive, in accordance with the contents and character. A full, true performance can be only achieved with proper use of the so-called means of artistic expression [44].
Musical phrasing, caesura, nuances, tempo, fermata, sound maintaining (sound extraction), timbre, and also the relation of students orchestral players to executed кюям or to works, etc. belong to means of art expressiveness.
Under the phrasing should understand the artistic, musical and meaningful implementation of the individual builds (motive, phrase, sentences, etc.).
In the performance of orchestral works or kyuis, you must be able to focus the main thing is to separate one thought from another, to emphasize the logical stress, etc., that is, the performance of orchestral works or kui must obey certain laws based on its structure, structure.
The following sign of art expressiveness of performance is ability to separate one phrase from another, one musical construction from another that is called – a caesura, a side point between phrases.
For example, the vocalists in most cases, caesura is performed by changing the breathing, and the accordions maintain the fur or the conduct of the bow of kobyz players.
The implementation of added students in the process of playing in the orchestra as a means of artistic expression should be considered an indispensable condition for the artistic execution of the work or kui [43].
An important place in orchestral technique is the ability to play with the nuances that is with different power of sounding of separate places kui or works.
Some unprepared bands, wanting to play loud, sloppy play, and a quiet game turns into a dull, paint-free sound.
For example, the skills of playing syrnay (Bayan), or the accordion nuance is closely related to the skill of doing fur, or the play on kobyz linked to the skill of doing the bow.
The ability of the orchestra to play with a variety of nuances, from pianissimo (very quiet) to fortissimo (very loud) – no violation of other execution quality – the purity of the ensemble, sound beauty – is the highest degree of the development of orchestral technique and gives you the ability to perform the most difficult compositions or compositions.
The variety of nuances and gradual transition from a quiet sound to a loud crescendo, and from loud to quiet – diminuendo should be used in the performance of any orchestral kyuis or works.
Certainly, skillful use of nuances also demands laborious work, a training.
Art and expressive performance of orchestra, is impossible without the use of such shades as:
Another important means of artistic expression is the tempo. The performance of the kui or works at a pace specific to the piece and the composer. Of course, the same tempo is not always maintained throughout the kui or works, i.e. the orchestra during the performance in accordance with the contents of the kui or works can speed up the tempo (ассеlеrаndo) or slow down (ritardando or ritenuto).
Having chosen кюй or the work for work with orchestra, the conductor has to show consideration for definition of tempo of the orchestral composition, first, following instructions of the composer, and secondly, based on the analysis of contents of the work.
The subtleties of performance skills is high requirements to the parts, namely, shades, nuances, halftones everywhere: the culture of sound, dashed subtlety, a subtlety in the nuances, the subtlety of agogics, gut integrity, shape, etc.
Certainly, expressiveness of performance orchestral кюев or the work is influenced also by the relation of student’s orchestral players to the executed work. Each of them has to know that the maintenance of music and the text causes a certain tonal characteristic of the work: heroic, cheerful, sad, and lyrical.
Understanding of the kui or works, the penetration of its content will contribute to the expressiveness of the execution. Desire vividly, brilliantly to execute should be reflected also on the external behavior of the students in the orchestra during the performance, their General smartness, the expression on the faces of the players. We must not forget that at the concert listening experience is complemented by the visual impression from the appearance of the players.
Never the cheerful, cheerful song will be heard according to its contents if orchestral players have boring persons. To the contrary, to performance of the sad and lyrical work there won't correspond cheerful and inopportunely the joyful mood of players.
You must always remember that the fulfillment of all, the different character of kyuis or works must be accompanied by a inspiration based on the understanding of the content of orchestral works and knowledge of techniques performance techniques.
It is unsurprising if the listener remains indifferent to the executed work in which there will be no most important – art expressiveness [44].
Sound extraction
Sound extraction art – the difficult and thin area demanding continued education, the most important – quality of a sound on an instrument and development of acoustical impression.
The main means of expressiveness – a sound. At highly skilled musicians, even simple, technically simple works sound extremely attractively. It is result of a lot of work over quality and culture of a sound. Work on a sound consists in development of a timbre, dynamics, and strokes.
Like the sound, before your birth, in the view of contractor exactly the same and sonority of the orchestra, before a reality, in the view of the conductor.
The conductor did not hear the inner ear kui or the product of its harmony will not be able to realize and the life of the plan. The orchestra sounds as it hears in its performance and as the chief-conductor. And no advice will not help if the head does not hear that the orchestra plays rough, sloppy sound, bad maybe. Therefore, the sonority, the orchestra starts with the sound.
The first members of the orchestra the sound is still underdeveloped. The skill (string) possession of the mediator, the skill of the right hand usually matures later than the fluency and dexterity of the left. The Bayan the skills of the fur Matures slower than the fluency of the fingers [35].
Playing orchestral instruments demands the big professional level which can be reached thanks to persistent and systematic work.
The orchestra is not only big group of musicians, but also set of musical instruments which participants of collective play. And instruments are various on the high-rise and timbre sounding, on a design and technology of sound extraction.
The main and most difficult task facing the Manager is to achieve a good, bright sound of the orchestra, its ensemble (a single style of play, teamwork) and technical mobility.
Nuance
Of course, the nuance of the orchestra is always wider and richer than the dynamics of a solo performance, that is, the orchestra is able to perform a vast wealth of nuances. After all the nuances (dynamics) – colorful richness of hues and excitement.
An important place in the classroom with the orchestra, is working on dynamics and sound quality. Members of the orchestra must not only master the basic dynamic nuances – pianissimo, piano, Forte, fortissimo, but to be able to compare sound of different power, gradually to weaken and amplify sound from a certain initial and final sound intensity to be able to play long and quick sound increase, etc [30].
On the first occupations it is expedient to work on exercises at slow tempo, gradually passing to development of all palettes of nuances from pianissimo to fortissimo.
In orchestra, it is important to play with various force of sounding of certain places кюя or works.
In orchestral performance treat means of art expressiveness – nuances. Need of change of force of sounding is defined by contents кюя or works, sense and value of separate musical constructions. Sometimes character кюя or works demands comparison of nuances.
However more often various nuances are used not in comparison, and in gradual transition from one to another, that is in increase or easing of sonority. Usually students, don't attach due significance to nuances.
To achieve a dynamic variety, orchestral players have to have big skill.
Of course, perception and impact volume depends on the size and acoustics of the hall in which execution occurs. In a large room, as a rule (even when the orchestra is large), f (Forte) never has enough power. Therefore, it requires a relatively large strength volume. For example, the achievement of the Forte in the Grand hall will require a sonority approaching the fff (fortissimo).
Playing of orchestral players has to be not only clear, but first of all comprehended and to be based on deep penetration into character and style кюя or works, in its contents.
Expressiveness of performance orchestral кюя or works is influenced also by the relation of orchestral players to the executed work. Each of them has to know that the maintenance of music and the text causes a certain tonal characteristic кюя or works: cheerful, sad, lyrical.
Undoubtedly, one of the main tasks of the head – to achieve from orchestral players of the good technology of playing musical instruments. Clarity of submission of the text facilitates listener's perception of performance orchestral кюя or works [43].
Extraction in orchestra of a loud sound requires the bigger tension, bigger costs of energy. Therefore strengthening of a sound usually contacts increase of tension, and easing – attenuation, calm.
In orchestral practice there are a lot of cases when the conductor has to review value of this or that dynamic specifying, to enter the additional, not designated by the author shades, and sometimes and to depart from the nuances specified in the text.