Open Access
Table 2
Flutist and violist responses to the questionnaire.
| How did this space impact your playing? How did it make you feel? | Were you conscious of any adjustments to your performance due to the space? To what would you attribute this? | |
|---|---|---|
| Salon des Nobles |
||
| Flutist 1 | This space made me want to imprint my sound more as if to be able to extend it to every corner of the room. I like to be able to appreciate the ends of phrases, the ends of sounds. [I had the] impression of a full space. | Adjustment to the level of vertical space. More anchoring to the ground and more projection upwards. More effort to put my stamp on the sound for a greater immersion in the space. |
| Flutist 2 | Pleasant room. Suitable for the music. | No, but pleasure to hear the response of the room. |
| Flutist 3 | The acoustics seem very simple. The sound is alive, the response is very pleasant. The fact of playing “in situ” in the salon of the château is very pleasant, stimulating for the imagination. | I think I slowed down the tempo a bit to allow time to hear the sound resonate and bring the long notes to life. |
| Violist 1 | This space is made for playing the viol. It was an immense pleasure to play in this place, the acoustics are absolutely perfect, the tone reproduced to the highest degree – an unforgettable experience. | I let myself be carried away by the moment. |
| Violist 2 | Very pleasing | Not really. |
| Violist 3 | Versailles “home to” Marin Marais is the best acoustic/framing for his music. What to say – inspiring. | Yes – more nuance as the room responds. |
| Violist 4 | The size of the room allows you to feel more free, perhaps less intimidating. The instrument being baroque, I feel better in an environment “literally adapted” to my instrument. | Once the reverb was heard/taken into account I was able to play more slowly in general with more straightforward or lighter articulations depending on the movements. The more I hear myself, the more I try to reign in certain details. |
| Amphitheater |
||
| Flutist 1 | My playing seemed to be very exposed where every detail could be heard. I also felt like I needed to project further, to hold on until the very end of the note values in order to reach the back of the room. | I think I accentuated the character of the pieces, sharper for Animé maybe slower of Lentement. I played very in front of me with horizontal projection & note values held to the very end. |
| Flutist 2 | Neutral. | Played longer because of the dryness of the room. |
| Flutist 3 | The space is large, sounds quite generous, it’s a fairly “neutral” room (in decor) so it’s quite easy to concentrate. There is a certain ease in finding yourself in a fairly traditional concert venue. | Feeling like I was in a big space led me to dig deeper into the dynamics for the 2 and 3 takes, to support the sound more, to make the phrases longer. |
| Violist 1 | I was a little bothered by the light. The color possibilities are quite huge and the dimensions of the room very pleasant. I was also a little tense, remembering a concert a long time ago in this same place on a Sunday morning at 11 am when I was very nervous! | Yes, as the resonance in the treble = almost zero, I tried to do the maximum without overdoing it I believe. |
| Violist 2 | This space had a very positive impact on my playing. The feeling was very good. | I didn’t need a conscious adjustment. |
| Violist 3 | Fairly neutral. Almost like a studio. | Not much resonance so [I was] aware of this and therefore adapt[ed] to these considerations. |
| Violist 4 | The size of the venue influenced the level of dynamics I used, and the reverb influences the tempi. I always need some adaptation time = the first few minutes of adjustment are difficult then ultimately I’m very comfortable. | I adjusted to the reverberation, adapted the tempi and the length of the notes as well as the dynamics, all this according to the response of the room. |
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