Saturday, 20 August 2011
Sunday, 10 July 2011
Eugene Onegin
Blimey. It's been a while... I've been busy with "real life", rather than music. However, I've just come off a run of Eugene Onegin (from a reduced orchestral version, "Pocket Opera"? something like that), and have a couple of bits to highlight.
Note that this is a combined cello & bass part.
Shall we begin at the beginning?
See that first note? Doesn't look like much, just a piano pizzicato D that you could do on an open string, but that's the only thing starting this opera off. You have been warned. We're quite fortunate with this score in that the bass part is independent from the cellos in some quite critical areas; nor are we always doubling the bassoons, or filling in non-existent brass parts (though at one point, someone has inked in a 4th horn part to play!)
Not a particularly taxing moment, there. Let us move forward to the beginning of the second number, the "Chor und Tanz der Schnitter", the bit where the strings come in after an unaccompanied chorus:
That's a fairly brisk "Adagio" - about as quick as you can comfortably pizz. (Ignore the double bar there - that's me being lazy...)
That's pretty much it for unpleasantness, at least in the version we did - there were a couple of small cuts, including one bit that looked horrendous for the cellists!
Note that this is a combined cello & bass part.
Shall we begin at the beginning?
See that first note? Doesn't look like much, just a piano pizzicato D that you could do on an open string, but that's the only thing starting this opera off. You have been warned. We're quite fortunate with this score in that the bass part is independent from the cellos in some quite critical areas; nor are we always doubling the bassoons, or filling in non-existent brass parts (though at one point, someone has inked in a 4th horn part to play!)
Not a particularly taxing moment, there. Let us move forward to the beginning of the second number, the "Chor und Tanz der Schnitter", the bit where the strings come in after an unaccompanied chorus:
That's pretty much it for unpleasantness, at least in the version we did - there were a couple of small cuts, including one bit that looked horrendous for the cellists!
Thursday, 9 September 2010
Tristan & Isolde - Act 3
There's a fair few notes here... and the passages I've picked out here are in because they really fly by! The first few pages are there to lull you into a false sense of security. Let's just look at some of the more interesting tempo markings, in German & Italian:
- Sehr allmahlich belebend - Animando molto poco a poco - OK...
- Belebt, doch nicht schnell - Animato ma non troppo - getting a bit quicker.
- Immer mehr belebend - Sempre piu animando
- Bewegt - Con moto - things are really picking up now
- Etwas gedehnt - Poco steso - OK, now you've lost me.
- Sehr bewegt - Molto mosso. erk
- Sehr allmahlich langsamer werdend - Poco a poco ritard. Just as well, 'cos it'll take you the ten bars at this tempo just to read the speed.
- Massig beginnend, und schnell bewegter - Moderato cominicando e poi stringendo subito.
That little lot is just in the space of under 150 bars. And I've missed a few out.
So. The moral of this story is "watch. No, I mean it. Watch. Watch until your eyes feel like they're popping out, like Arnie's were at the end of Total Recall."
And, based on my experience of the last rehearsal, it's all too easy to lose count in the few bars rest that you actually get...
And so, on with the notes... nothing too bad early on in the scene. However, over the page from the directions shown above, we get to bar 516:
A tricky little rhythm, but it only lasts for a couple of lines.
And a couple of pages later, we get this bit of out-and-out unpleasantness:
I like the tempo marking - "Etwas schleppend". Apparently that means "poco strascinante", but I have no idea what that means either, beyond "watch!"
And then, at the bottom of that page, we have a few really quick bars, with a change of time signature every bar just so you can't settle down:
A couple of pages later (nearly there!), we get this: "Noch schneller"? what? You want more speed? With another cockeyed rhythm? Gah.
As for the remains of the piece... well.
Act 3 - Scene 2 - the whole of the first page (60-odd bars) needs a look.
Act 3 - Scene 3 - most of the first 100 bars here.
You'll just have to use the link I provided earlier to download the part and have a look for yourself, if you don't believe me!
Tuesday, 7 September 2010
Tristan & Isolde - Act 2
And now, after a decent interval (and not too much beer - it's a long night!), Act 2.
I've just gone through the part again, and I can't see a single marking indicating that this caused problems. Hurrah!
There are a few naughty bits in Act 3, however, and I'll get to those shortly.
I've just gone through the part again, and I can't see a single marking indicating that this caused problems. Hurrah!
There are a few naughty bits in Act 3, however, and I'll get to those shortly.
Tristan & Isolde - Act 1
We had a run-through of Tristan & Isolde on Sunday last... A nice surprise - for a couple of hours there were four double bassists! Unfortunately, one of 'em had to go at lunchtime, but it bodes well for the main event weekend when we should have up to five...
It's a far cry from the bad old days when I was all alone, boo, sniffle...
Right. On to the notes. I think I may have been slightly hampered by the rehearsal room - instead of our normal large hall, we were rehearsing in a nightclub, and the lighting was not all that it might have been. Wagner with a glitter-ball...
I think my friend was a bit optimistic when he described the notes as being straightforward... generally, yes. There are, however, a few bits that would benefit from some study.
Starting with Act 1, Scene 1, half way down the first page, we get a few unpleasant bars of heavily-accidentalled quavers:
The good news is that that should more-or-less fall under the fingers, if you've got the right starting point, and a big-ish left hand.
Nothing to worry about in Scene 2, which is good.
And on to Scene 3. Just a couple of oddments:
It's a combination of speed, dynamics and accidentals that put paid to being able to read that on the fly in the dark... but the next bit from just over the page was more fun:
"Sehr Schnell" is about right. "Goes like stink" is another way of putting it.
Just before the end of Scene 4, we have the following:
"More of the same", I hear you think. And that's what some of us thought, as we went at it at full tilt, failing to realise that it's rather slower than it looks... Oops!
The rest of the first act is straightforward. Apart from about half of the last page of it. You have been warned!
It's a far cry from the bad old days when I was all alone, boo, sniffle...
Right. On to the notes. I think I may have been slightly hampered by the rehearsal room - instead of our normal large hall, we were rehearsing in a nightclub, and the lighting was not all that it might have been. Wagner with a glitter-ball...
I think my friend was a bit optimistic when he described the notes as being straightforward... generally, yes. There are, however, a few bits that would benefit from some study.
Starting with Act 1, Scene 1, half way down the first page, we get a few unpleasant bars of heavily-accidentalled quavers:
The good news is that that should more-or-less fall under the fingers, if you've got the right starting point, and a big-ish left hand.
Nothing to worry about in Scene 2, which is good.
And on to Scene 3. Just a couple of oddments:
It's a combination of speed, dynamics and accidentals that put paid to being able to read that on the fly in the dark... but the next bit from just over the page was more fun:
Just before the end of Scene 4, we have the following:
"More of the same", I hear you think. And that's what some of us thought, as we went at it at full tilt, failing to realise that it's rather slower than it looks... Oops!
The rest of the first act is straightforward. Apart from about half of the last page of it. You have been warned!
Thursday, 2 September 2010
Tristan & Isolde - the preview
It's Northern Wagner Orchestra time again! This time, we're working on Tristan & Isolde, a 5.5 hour monster of an opera.
By way of initial preparation, I asked a friendly ex-pro double-bassist I know if he had any advice. He came up with the following musical points (as well as a couple of physiological issues that I don't think we'll go into here...):
By way of initial preparation, I asked a friendly ex-pro double-bassist I know if he had any advice. He came up with the following musical points (as well as a couple of physiological issues that I don't think we'll go into here...):
- The notes themselves aren't difficult
- It's the changes of tempo that are likely to trip us up. (Reminds me of the old saying - if you don't know what it means, it means "watch!")
- Watch carefully for the pizzicato - these need to be together.
Having had a quick look at the part that's available at IMSLP, all 85 pages of it!, he was mostly right.
However, I'm not quite at his standard, or at his match-fitness (as it were), and I've already spotted a few quaver runs that could be interesting. I'll make some notes during rehearsal, and if there is anything untoward I'll put it up here.
(Note: the reason that the PDF of the bass part is 85 pages is that whoever put it up in IMSLP helpfully included part of the 2nd bassoon and the 3rd bassoon part! It looks like the bass part is really only(!) 45 pages...)
Friday, 18 June 2010
Aida - Acts 1 & 2
Just got in from the band call for tomorrow's Northern Wagner Orchestra's rendition of Aida. I'm not going to be able to practise this myself, but I need to keep an eye on the following bits, 'cos they're nasty...
Act 1.
This bit is awkward, fast, and generally unpleasant. And, to make matters worse, you turn the page, and the whole passage is repeated with a minor change - the penultimate note is the high E rather than the low one. Gah.
(We've got a big cut missing the semiquaver runs in the Danza Sacra delle Sacerdotesse... indeed, we're cutting that whole number. But, looking at them, they don't look too bad.)
Act 2.
This is a cut-down version in orchestral terms, so I was slightly surprised to find myself playing a solo with one of the big tunes:
A double bass tune? Yeah!
Then we cut the ballet, and, before you know it, we're looking at this frankly gratuitous arpeggio:
I'll write up some bits from Acts 3 & 4, including some double-stopping (hey - I am, after all, the Lone Double Bass!), in the morning.
Act 1.
click to see all
This bit is awkward, fast, and generally unpleasant. And, to make matters worse, you turn the page, and the whole passage is repeated with a minor change - the penultimate note is the high E rather than the low one. Gah.
(We've got a big cut missing the semiquaver runs in the Danza Sacra delle Sacerdotesse... indeed, we're cutting that whole number. But, looking at them, they don't look too bad.)
Act 2.
This is a cut-down version in orchestral terms, so I was slightly surprised to find myself playing a solo with one of the big tunes:
click to see all
A double bass tune? Yeah!
Then we cut the ballet, and, before you know it, we're looking at this frankly gratuitous arpeggio:
click to see all
I'll write up some bits from Acts 3 & 4, including some double-stopping (hey - I am, after all, the Lone Double Bass!), in the morning.
Monday, 14 June 2010
Beethoven Septet - Tricky bit
I love this piece of music - so many memories tied up with it. However, there's just one bit that gives me a slight "urk" feeling when I see it hove into view - that's this bit in the middle of the third variation.
Yes, it's nice and slow, but it's still a little bit fiddly. And it's such a good theme - Harmonious Blacksmith. Still, it's something else for me to think about for next weekend...
I wonder if the non-aggression pact between the horn and violin is going to hold? For those who don't know the piece, the Trio (of the Minuet) has a tricky horn bit, and the violinist has the potential to have set a cracking pace... but if the violinist does do this, then the horn-player gets the option for revenge by setting his own blistering pace with a pseudo-hunting call at the start of the Scherzo.
It's too complicated to describe. Just go and get a copy, or find it on Spotify...
Yes, it's nice and slow, but it's still a little bit fiddly. And it's such a good theme - Harmonious Blacksmith. Still, it's something else for me to think about for next weekend...
I wonder if the non-aggression pact between the horn and violin is going to hold? For those who don't know the piece, the Trio (of the Minuet) has a tricky horn bit, and the violinist has the potential to have set a cracking pace... but if the violinist does do this, then the horn-player gets the option for revenge by setting his own blistering pace with a pseudo-hunting call at the start of the Scherzo.
It's too complicated to describe. Just go and get a copy, or find it on Spotify...
"Sonata for Seven", Schmelzer
(Schmelzer? Who he? ed.)
(No. Me neither.)
Schmelzer. 1623-1680. Wrote a septet for recorder ensemble. You now know as much about him as I do. This has been rearranged for a Beethoven septet ensemble (vln, vla, vlc, cb, clt, bsn, hn).
Not much to worry about, except, for some reason, I'm finding this difficult:
But why? There's nothing there to worry about! So why in the name of all that's sane am I missing that E on the sixth quaver of bar 28? I'm losing it - it's the only rational explanation. And it's not a good sign for the week ahead, as I've got a rehearsal on this (+ the Beethoven septet), and the Northern Wagner Orchestra's production of Aida at the weekend, and we're heading rapidly towards the Leeds Youth Opera's production of Faust. Gah...
(No. Me neither.)
Schmelzer. 1623-1680. Wrote a septet for recorder ensemble. You now know as much about him as I do. This has been rearranged for a Beethoven septet ensemble (vln, vla, vlc, cb, clt, bsn, hn).
Not much to worry about, except, for some reason, I'm finding this difficult:
But why? There's nothing there to worry about! So why in the name of all that's sane am I missing that E on the sixth quaver of bar 28? I'm losing it - it's the only rational explanation. And it's not a good sign for the week ahead, as I've got a rehearsal on this (+ the Beethoven septet), and the Northern Wagner Orchestra's production of Aida at the weekend, and we're heading rapidly towards the Leeds Youth Opera's production of Faust. Gah...
Saturday, 29 May 2010
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!
Saturday, 6 March 2010
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.
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.
Sunday, 28 February 2010
"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.
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.
Tuesday, 19 January 2010
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!
So, the challenge for the summer is on. Find more music, play more music!
Sunday, 10 January 2010
"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.
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.
"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.
Tuesday, 17 November 2009
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...]
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...]
Saturday, 24 October 2009
"Classical Spooktacular"
A cheesy title for this afternoon's concert by the WYSO, which was a child-friendly early Halloween concert.
Anything to worry about from the bassist point of view? No, not really, thanks to the arrangement of the Valkyries
Programme included the obvious suspects for such a gig:
- Grieg - Hall of the Mountain King
- Mussorgsky - Night on a Bare Mountain
- Monster Mash
- Berlioz - Witches Sabbath (you know, the last movement of Symphonie Fantastique)
- Wagner - Ride of the Valkyries (a somewhat dumbed-down arrangement)
- Saint-Saëns - Danse Macabre
- "Dem Bones" (with some words I don't recall from my childhood)
- John Williams - Harry Potter Suite (from the first movie)
Anything to worry about from the bassist point of view? No, not really, thanks to the arrangement of the Valkyries
Sunday, 13 September 2009
Berg - Excerpts from Wozzeck
As promised yesterday, the particularly unpleasant solo from the second of three excerpts from Berg's Wozzeck.
Key points:
- No key signature, and he prefixes every note with some form of accidental. This is most unfriendly.
- It's very exposed, and part of a fugue subject. First, voice. Then viola, then violin, then you.
- On the plus side, however - it's nice and slow!
I also like the way that Sibelius 5 shows every note apart from the b flat in red, indicating that this might be a bit on the high side!
Saturday, 12 September 2009
It's a lonely life...
One of the reasons behind the name of this blog is that last year, I was playing in Gotterdammerung, and I was the only double bass. Which wasn't really so bad, all things considered, except when the part said "nur 4" (only 4). However, when the part said "nur 8", I did wonder just how big was the bass section for which Wagner was writing?
Anyway, just for a change, this year I am not the only double bass in the Northern Wagner Orchestra. The programme this year is a little lighter than it has been, after we completed the Ring in 2008. The programme:
I'm sorry - did I say "lighter" music? Since when was that little lot "light"?
Where was I? Oh yes. I have been joined this year, swelling the section to two. Luxury! But still not enough, for the bass part in Rite divides into 6 at the top of page 2. Ah well... There's a rumour that there'll be a third player tomorrow, but, given her previous record, I'm not holding my breath.
Anyway, just for a change, this year I am not the only double bass in the Northern Wagner Orchestra. The programme this year is a little lighter than it has been, after we completed the Ring in 2008. The programme:
- Wagner - Wesendonck Lieder (nothing to worry about here for the bass section.)
- Berg - excerpts from Wozzeck (tricky and exposed solo in the second excerpt, the notes of which I shall attempt to post up here tomorrow. The rest is straightforward.)
- Stravinsky - Rite of Spring (oh dear. I've done this before, and forgotten just how fiendish it is in places. The notes themselves aren't so bad, but the rhythms, particularly at the end. Why couldn't he just pick a time signature and stick with it?)
I'm sorry - did I say "lighter" music? Since when was that little lot "light"?
Where was I? Oh yes. I have been joined this year, swelling the section to two. Luxury! But still not enough, for the bass part in Rite divides into 6 at the top of page 2. Ah well... There's a rumour that there'll be a third player tomorrow, but, given her previous record, I'm not holding my breath.
Friday, 4 September 2009
Haydn - Farewell Symphony
I was recently asked to join a local orchestra for a performance of Haydn's Symphony 45 - "Farewell". Unfortunately, I was unable to accept their invitation; however, an alarm bell did start ringing...
So I found a copy of the cello / bass part, and had a quick flick through. Nothing to worry about by looking at the first page - 3 sharps, big deal. But my memory was telling me there was a passage in 6 sharps, and a rather exposed bass solo. And, me being a bit pessimistic about these things, I thought that it might be that the solo itself was in 6 sharps. Oh dear. So I had to keep looking...
First movement - nothing to worry about. Second movement - an awkward "Scotch Snap" type rhythm at the beginning of the second half, but not much of a problem. Third movement - Minuet & Trio - again, nothing there apart from the 6 sharp key signature. It must be in the Finale.
The finale. "Presto". Oh dear. Thankfully, only 3 sharps in the key signature. But again, nothing immediately obvious until I turned on to the last page, where the presto leads into an Adagio passage (whew!) in 3/8, which seems to be about the point where Haydn starts sending the players home. And there we have it - the dread phrase "uno Basso solo", with an exposed triplet semiquaver passage.
And here's that passage for future reference (click for a bigger version suitable for printing and practising):
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