"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...

Bow Rehairing

I had one of my bows rehaired last month. It's a bit of a monster - quite the longest bass bow I've ever seen, and too long to fit in a "normal" bow case. The person who rehaired it did not put on sufficient hair for my liking - I think it may even have had less hair after the work than it had before it went in...

Anyway, I got the bow back, and tried it out and it seemed to be OK, so I thought nothing more about it. I finally got round to using it properly in a Schubert Octet, and got halfway down the first page before I noticed that the bow seemed to be a bit loose. Kept tightening it up as I went along, and by the repeat mark realised that the thing was not at all happy. It seems as though the hair is not being gripped properly at the frog.

Does this sort of thing happen regularly? I did once have a cello bow that failed completely at the tip - the glue just gave way in the middle of a concert (most embarrassing). But surely a rehairer should be able to deal with a bigger bow?

Anyway. I am waiting for a refund, and a recommendation for a rehairer somewhere near Leeds who's up to the challenge! (The length of the playing area is 24 inches, and I like white hair - thanks!)

Beethoven & Berwald Septets

Last night was a the regular Beethoven Septet session, fixed by the boss with his favourite players. Coupled with a very relaxed and calm Beethoven septet, we also did the Berwald. This is one that I have seen before, once or twice, and definitely need to look at properly for there are some trickier passages here & there.

Hmm. I seem to be building up quite a shopping list!

Helsted Decet

Have just come out of a session of mixed decets (string quartet + bass, + wind quintet). The main feature was the Helsted decet - a new piece to me, that definitely requires some attention! There are all sorts of interesting corners and fiddly bits, and even the double bass gets a look-in. I need to get hold of a copy of the bass part and go through it in detail.

We finished off the session with the Dvorak Bagatelles, arranged by Geoffrey Emerson. A fun arrangement, if a little light on the bass side.

Nonets, nonets everywhere

Today has mostly been spent playing mixed nonets. Spohr & Farrenc this morning (but we only really had time for the first two movements of the Farrenc). And then this afternoon I was covering for another bass player who's not well. And that session was supposed to be the same again, but we switched in the Onslow for the Spohr.

Nothing too hairy in these, thankfully, but the odd corner would repay attention. Again, I'll try to get some notes together at a later date.