David Geffen Hall will reopen next fall following a gut renovation. JDavidsonNYC writes on what's being done to give it a new (and, fingers crossed, better) sound
The interior of David Geffen Hall, seen on September 10. Photo: Richard Barnes/JBSA, Courtesy of Diamond Schmitt. When I first stepped into the void of Geffen Hall in mid-construction, a year or so before next fall’s reopening night, I had the impression of a room that had been stripped to bare concrete.
The changes will be profound. The New York Philharmonic and Lincoln Center agreed to sacrifice about 500 seats, bringing the capacity down to the sweet spot of 2,200. In the old hall, the orchestra was constricted by a low-ceilinged box that sent reflections pinging around the musicians, assaulting them with their own clangor. A higher ceiling should help project the music towards the audience.
Until recently, pursuing that result was an erratic art, limited by the sheer complexity of sound. When a trumpeter plays a fanfare from the back of the stage, each note spreads out in all directions, bounces off every surface, ricochets from balcony to wall to ceiling and back again in a constantly changing sequence of circular ripples that cross and overlap in three dimensions.
All those alterations are designed to do more than change the trajectory of sonic energy, though. They will also reshape the experience of audience and musician—the quasi-mystical energy exchange that links several thousand brains, processing immense quantities of sonic and visual data.
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