Staff

entrance
Deliveries CONCERT HALLS
........ Origins, Variants

Acoustic multi-purpose rooms

Churches were the first form of
concert hall, with strong rever-
beration. The echo increases the
holiness of the place, but domes
and vaults are problematic for
sermons and orchestral music.
The first theatres and opera hous-
es were stages and auditoriums
installed into existing halls.
There was good understanding
of speech due to the open view
and short distance to the stage,
but insufficient reverberation due
to decoration with soft materials
and surfaces with little reflection
of sound.
In a tiered theatre, the stalls are
surrounded on three sides by
tiers, generally leading to short
reverberation times, as empty CoNCERT
HALLS
wall surfaces are obstructed by
Origins
boxes and galleries and are full Variants
of people. This is advantageous Requirements
Organs
for the understanding of speech Orchestra
but music sounds rather dull and Acoustics
toneless.
Concert halls
--Direct functional relationship
·········Indirect functional relationship
.........
Visitor entrance
Today four types of concert hall
are common (possibly modified):
Q Functional scheme of a concert building with one hall (Skoda --> refs) block, arena, fan and horseshoe
-> 0 - 0. The selection of hall
Concert houses type depends on the urban plan-
Intended for musical performances, but other uses are also possible (congresses, lectures etc.), ning situation, intended space and
can also if required be supplemented by chamber music hall, rehearsal hall, tuning and warming up acoustic requirements.
rooms and stores. Hall sizes of 1500 and 2000 (in isolated cases 2800) seats in the audience have
become usual, for chamber music 400 to 700 seats.

Block form Arena Horseshoe form Circle/arc form

Rectangular plan Polygonal ground plan Horseshoe-shaped plan Fan-shaped plan
Pattern: redoubt, ballroom and dance hall Pattern: amphitheatre Pattern: box theatre Good view, good direct sound transfer
View is not optimal due to flat stalls Orchestra area is completely surrounded Good view, good direct sound transfer Acoustic disadvantages due to fan-shaped
Polyfunctionally usable with level seating by audience Sufficient short reflections, few complex opening of hall
Primary structure according to conditions, Optimal viewing conditions, communicative reflections Optimal acoustics are possible,
similar to the golden section enables a very effect Little space and good sound transparency but expensive to create
good sound Good direct sound transfer
Optimal acoustics are possible,
but expensive to create

Block form: Lucerne Concert Hall,

1995-98 Arch.: Jean Nouvel
Arena form: Philharmonie Berlin,
1960-63 Arch.: Hans Scharoun
e Horseshoe fonm: Carnegie Hall, New
York, 188&-91 Arch.: W.B. Tuthill
Fan shape: Brucknerhaus Linz,
1969-73 Arch.: Heikki Siren

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 CONCERT HALLS

fiJ ~iJ
uo
GO -o
Q)
Technical Requirements, Organ, Orchestra
. P~. 0..

D
® ® © There is little stage equipment: elements of floor structure in
IBl-CD the area for the orchestra, adjustable wall and ceiling fixtures,
80/UO transport aids, loudspeakers and lighting equipment.
Lifts to extend/reduce the stage
Large concert halls have special compartmentalised systems
in the orchestra area to make various orchestra configurations
@ ® possible, enlarge the stage area or maximise the number of seats
in the hall by placing seating units on lifts. There is also transport
of items between basement and stage, electrical spindle drive
with limited lift and low raising speed.

Key
Mobile seating units
GO great organ The lifting platforms can be lowered to allow a smaller stage and
so swell organ the positioning of additional seating, which can be in the form of
co choir organ
ChO chair organ mobile units.
®-@ uo upper organ
p positive Orchestra stage
0 Sizes and forms of organs Ped pedal organ Modular system with flexible stage options for music groups.
Transport and storage is on storage wagons in the store room.
Type Size Registers Height(m) Width(m) Depth (m) The floor covering matches the concert platform.
A chest 3-7 0.6-0.8 1.1J.-1.2 0.7-1.2
B positive 8-12 2.5-3 1.6-2.5 0.6-1.6 Choir platforms
CONCERT c small organ 12.20 4-6 3-3.5 1.2-1.8 Additional to the choir seats, when extra space is required, large
HALLS D II manuals 20-30 6-7 5.5-6.5 1.2-2
Origins E
seating platforms are rolled onto the stage and mounted in front
II manuals 25-35 6.5-9 4.5-7 1.5-2.5
Variants F-G Ill manuals 30-60 7.5-10 7-9 2-3 of the fixed choir seating; the seating in both types is identical.
Requirements
Organs
H-1 IV-V manuals 60-100 9-13 8-12 2-4 Access is via detachable balcony elements in the choir seating
Orchestra area or up temporary stairs on the choir platform.
Acoustics f) Organ types and sizes (housing)
Mixing desk
see also:
Religious Register number~ room volume in m 2/300 + number seats/50 Area consisting of three rows in the auditorium stalls; can be
buildings quickly adapted for the most varied performance and conference
pp. 285 ff.
Formula to determine the number of registers (according to Walcker) conditions.
A motorised platform under the stalls can be occupied in various
b - · - - ---1 a~ Width including filing ways: mobile seating unit, mobile mixing desk, or empty (e.g. if
b ~ Deep including bank
c ~ Height without music stand
guest musicians bring their own mixing desk).
Cyclorama scaffold
Motorised tubular scaffold, used to fix curtains and banners,
portable stage lighting and other production elements at the
rear of the stage, and can if required be partially or completely
dismantled.
Organ built into the concert hall

2 Manuals 3 Manuals 4 Manuals

00%
A \!Pill]~ 17
There is no fixed standard for the layout, with organs being
designed musically and architecturally for each individual space;
z_J<!)\lJ CD~<ib
a 180 200 220 it is an important visual eye-catcher. The location of the organ
b 150 160 170
c should be at the back of the stage, with a location in front of the
/]~
110 120 130

Free-standing console and its

c:Q back wall being ideal, free-standing and not in a niche.
c::r:::J OJ c::::::LJ The size depends on the volume of the hall, acoustics, position in the
dimensions
e German seating arrangement
room, number of seats, musical requirements (solo or accompanist
instrument). The better the acoustics and the location of the organ,
the smaller can it be -+ 0- 0.
To the depth of the organ housing should be added: 1-2 m for
the organist and min. 0.5 m for tuning access behind the organ,
min. 1.5 m free space necessary above the organ -t 0 - 0.
In concert halls, a second organ platform is necessary (electric,
mobile); this is placed near the orchestra, so the organist becomes
part of the orchestra. The dimensions depend on the size of the
organ-+ 0 + 4!). Necessary cable connections should be provided.
f) American seating arrangement Orchestra sizes and layouts
1. Conductor 1D. Bassoon The various orchestra seating layouts, formerly German and today
2.1stviolins 11. Trumpets mostly American, are important for the sound in the hall -t 0- f).
3. 2nd violins 12. Horns
4. Violas 13. Trombones The following sizes of orchestra are usual today in Europe and
5. Cellos 14. Tubas North America: large symphony orchestra with 60-150 musicians
6. Basses 15. Harps
and chamber orchestra with 25-40 musicians; this determines
7. Flutes 16. Percussion
8. Oboes 17. Kettle-drums the additional space requirement on the stage (e.g. Gewandhaus
0 Organ with IV manuals (section) 9. Clarinets Leipzig, approx. 180m 2).

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AP.··.. CONCERT HALLS
.......... .':.;:.:::···l·························································.. ·························· .. ·························· Acoustics

,: ~:~: :r,: :;~:> \

The most important objective in designing a concert hall is a
superb sound. Acoustics result from the interaction of various
elements: size, volume and proportions of the concert space,
number and arrangement of the seats, materials used, surfaces
and finishes.
The sound properties of various instruments and the human
(singing) voice have to be taken into account, alone and together,
and also differences in pitch range and character (volume,
frequency distribution and time structure of a sound). The various
A d . ····/~. layouts of the orchestra are of significance for the sound in the
hall: the positioning of various groups of instruments (particularly

;~·~:.::.:'::-::·..1 the string section).

For the effect of the instruments in the hall, the relationship of the
sound travelling directly to the listener to the early reflection from
0 Sound waves and sources of reflected sound in an auditorium. A= sound source the sides plays a decisive role ---> 0.
A1 = source of first order reflected sound etc. (Kuttruff -> refs)
Optimal reverberation is important for the quality of hearing:
excessive reverberation reduces clarity, and too little reverberation
makes music sound dull. It is dependent on air changes/person
(older concert halls 4-5m 3 /seat, newer over 6-15m 3/seat).
The acoustics are influenced by hall size, shape and (surface) material CONCERT
HALLS
used; these can be adapted for different acoustic requirements
Origins
through the selection of various materials. The following variants are Variants
possible and usual: Requirements
Organs
Acoustic reflector Orchestra
Acoustics
Installed over the stage, this is an adjustable, wide, heavy, sound-
reflecting surface consisting of two or three independent sections;
each section must be 2-3 m above the stage and adjustable up
to 2 m under the ceiling. The height and position of reflectors is
determined by the type of concert: smaller concerts, light chamber
music and concerts with string instruments require a lower height
for the reflectors.
Sound-absorbing curtains and banners
These influence the length and strength of the reverberation
(lowered by widening the curtains). If not required, the curtains
are retracted into curtain niches (and must then be without effect).
Acoustic regulation spaces (promenades)
Volume V (m 3) Additional volume can be gained for works with long reverberation
(those for organ, large orchestras and large choirs, as well as with
f) Relationship of reverberation, hall volume and music type (Hall -> refs)
acoustic amplification) through the extension of the auditorium.
Access passages and foyer areas can be used for this. They can
be opened into the hall with movable panels using central control.

The reflection characteristics of Frequency (Hz) 125 250 500 1000 2000 4000
various materials are of great im- acoustic board, suspended hard 0.2 0.4 0.7 0.8 0.6 0.4
portance for the acoustic design. acoustic board, suspended in frame 0.5 0.7 0.6 0.7 0.7 0.5
Hard surfaces are preferable acoustic rough plaster 0.1 0.2 0.5 0.6 0.7 0.7
to achieve long reverberation. normal plaster on laths 0.2 0.15 0.1 0.05 0.04 0.05
The seats should also be pro- plasterboard 16 mm on squared timber 0.3 0.1 0.05 0.04 0.07 0.1
vided with surfaces of hard mat-
plywood 8 mm on squared timber 0.6 0.3 0.1 0.1 0.1 0.1
erial. Upholstering of seats can
artificial stone, untreated surface 0.4 0.4 0.3 0.3 0.4 0.3
achieve uniformity of reverbera-
painted concrete 0.1 0.05 0.06 0.07 0.1 0.1
tion, even with different numbers
fair-faced concrete 0.01 0.01 0.02 0.02 0.02 0.03
in the audience.
brick 0.03 0.03 0.03 0.04 0.05 0.07
heavy carpet on concrete 0.02 0.06 0.15 0.4 0.6 0.6
heavy carpet with felt underlay 0.1 0.3 0.4 0.5 0.6 0.7
stage flooring, wood 0.4 0.3 0.2 0.2 0.15 0.1
window glass 0.3 0.2 0.2 0.1 0.07 0.04
wall hanging, medium velour 0.07 0.3 0.5 0.7 0.7 0.6
upholstered seats, occupied 0.4 0.6 0.8 0.9 0.9 0.9
upholstered seats, unoccupied 0.2 0.4 0.6 0.7 0.6 0.6
Degree of sound absorption (alpha)
wooden or metal seats, unoccupied 0.02 0.03 0.03 0.06 0.06 0.05
of various surfaces (Hall -> refs)

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