Busy - sorry

Sorry for the suspension of normal service here.  I've been a bit busy with the day job - I've actually got one at the moment, which is novel.

But I have got some musical stuff to blog about - I'm currently in rehearsals for a performance of Beethoven's Septet, and for a run of Gounod's Faust with Leeds Youth Opera Group.  I last played Faust for them about 12-13 years ago, and a girl called Sarah Estill sang Marguerite.  Sarah is now a full-time opera diva, working with Opera North, and is back with LYOG, this time directing the show.  She's also one of the main drivers behind the Northern Wagner Orchestra.  (I really need to redo that website...)

That reminds me - must dig out a score of Aida and see if there's anything tricky I need to be aware of, as we're playing that next month!

Mikado excerpts

Probably a bit late for my own use, given that the run has started, but the following two little corners would repay inspection.

Firstly, from the "Wand'ring Minstrel" number near the beginning of Act 1, a tricky little semiquaver passage.

The other passage is from the Finale to Act 1.  It's quite exposed, and it is in unison with the rest of the strings, which may (or may not) make it easier.

That's it in terms of tricky note passages.  The rest of the problems are caused by the times being pulled around, but, as the notes themselves aren't so bad, it's easy enough to keep watching the conductor!

One performance down, eight to go.

"As some day it may happen"

After a delay, the next musical extravaganza looms on the horizon.  A slight change of pace from the most recent "Orpheus" - I'm getting ready for a week and a bit in the pit of Gilbert & Sullivan's "The Mikado".  I don't recall any nasty traps, but I'll take notes if there are!

In other news, I've recently been approached to perform one of my all-time favourite pieces - the Beethoven Septet.  The concert will be in June, so I've got plenty of time to find and practice the fiddly bits.  As ever, anything worthy of attention will be put up here for future reference.

Double Bass Chamber Music

I've just seen a post on Jason Heath's "Double Bass Blog" that neatly summarises the problem that many of us face, and that is the perception that there's a very small amount of chamber music that involves the double bass.  This is true, but the situation is not quite so dire.  The article in question, by a guest writer, lists rather more than I was expecting (including my old friends Onslow & Farrenc), and a few that I've not come across yet!

So, the challenge for the summer is on.  Find more music, play more music!

"Orphée aux enfers" - excerpts

We didn't get all the way through the score in this afternoon's rehearsal; however, I've found the following bits that require a bit of attention.

Act 1, No6 - Invocation à la mort, bars 17-25.  Pizzicato, goes quicker than I would like...  According to our conductor, this is to imitate a laugh.

Act 2, No12bis - Entrée de Pluton, bars 9ff.  Fiddly little semiquaver runs.

Act 2, No16 - Final, bars 82-82.  Fast quavers, accidentals everywhere.  Maybe I just needed coffee by this time, but it still felt awkward.

Act 3, No17 - Intermezzo, bars 9-12.  Again, just fiddly accidentals.

My other bit of homework is to write out the last eight bars of act 2, and the first sixteen of of the Intermezzo - there's a big cut in one, and we're reusing the other elsewhere.

That's it for now...  next rehearsal is next weekend, and this may throw up a few more bits for further attention.

It's all Greek to me

This is fun.  Just been to the first orchestral rehearsal for Orpheus, and found that the part not only hasn't been cleaned by the previous borrower, but has pencil markings in English, French, German, Italian and Greek.

"διαλογοσ" - I can cope with that one.  And seeing "αccelerando" is a bit weird, but OK.  However, there's some stuff here that I really can't understand, not that it matters.

Lots of cuts to mark in, and a few corners to practise.

Septet session

Things here have been rather quiet of late, for which I apologise.  However, this evening I have a session of string septets to go to.  The programme consists of the Strauss Metamorphosen as well as septets by Martinu and the leader of the group.

On first inspection, the Martinu doesn't appear to be too tricky, but, having played his mixed nonet on many an occasion, this may be misleading.  I'll write again if there are any tricky bits!  Hmm.  -1 for observation - the part says "Sextet" at the top - is it one of those optional double bass / 2nd cello things?  [Edit - turns out that it is a sextet with an optional bass part; fortunately for my sanity, the bass part is not just a follow-the-cello thing, but adds a distinct texture to the piece.]

As for the other piece...  Anyone got any suggestions about how to play passages in running octaves?  I don't think my fingers will stretch to double-stopping this low down on the bass!  Sample below...

[Edit - the composer says that he wants the player to play the bottom line if the bass is extended, or a five string, and the top line otherwise...]