Is symphonic music kind of like Phil Spector got hold of chamber music?

The title says it.


Hey, OP, how about some follow up?  Always appropriate.  Personally, it always feels manipulative when someone posts something of at least some controversy or possible misunderstanding and then disappears,  

Btw, re  **** I’m not so sure about that. Phill looks pretty damn old. ****

He should, he’s dead.

OP here. I was very curious to see what sort of replies I would get.  The original  notion just popped into my head as a silly little thing, but I thought it would be a provocative starting point for discussing chamber versus orchestral music. On the one hand, some folks seem upset by my post, while others can appreciate the humor in it. It’s been interesting that our  attention  has turned to Phil, who I don’t know too much about, and was interested to learn more about. I guess I hear some orchestral pieces as lush and overblown, And I know I like the sound of clearly heard instruments better than I like the combined sound of a bunch of instruments. That’s just me, and of course it’s no legitimate commentary on the merits of any particular type of music.

I have refrained from reacting to individual posts, since I did not want to appear judgemental or directive about what the threads were supposed to be about.

In response to the OP, no.

Not sure why a mid 20th century pop producer has to be invoked in order to differentiate between orchestral and chamber music? The differences have been around for much longer than mid century pop.

From my view, as a fan of mid to late 20th century and contemporary classical music, the differences between chamber and orchestral music have seemed to blur a bit.

Chamber ensembles of larger size, and chamber orchestras are pretty popular among mid to late 20th century, and contemporary composes, and often with a combination of instruments unusual by 19th century standards. This can tend to give them more harmonic substance than more standard chamber ensembles (string quartets, piano trios)

And orchestral music, maybe due to increased complexity of late 20th century music (the various sections being more independent from each other), do not sound as ’lush and overblown’ as in the past, so they can tend to have some of the attributes of chamber ensembles.

Coincidently, I was listening to Elliott Carter’s, "Piano Concerto (1964)" last night, and thinking to myself, "this comes off more like a chamber piece, than orchestral". Maybe the independence of each section of the orchestra gives them more of the sort of role each individual instrument would have a chamber piece?

And, on the other hand, Charles Wuorinen’s "Concerto for flute and 10 players (1964)" seems to me, to have more ’weight’ than the number of musicians would have one believe for so few (by orchestral standards) musicians.

...and here I'm pondering, when I read mention of the 'wall of sound', I thought 'Grateful Dead'....

It was fun to get lost in a Spector spectacular, actually.  The combination of the physical and the sound field involved would have a venue full of acid heads have a very Different sort of day...:)

Now I'm going to have to dig out my treasured first pressing of Rheingold-a-go-go: The Ronettes Rock Wagner.