It's been great to hear how much the orchestra has progressed during their rehearsals this month. Michael circulated CDs to everyone, and I think the players have enjoyed listening to the music, familiarising themselves with the more difficult sections, and making sense of how their own parts fit into the overall musical picture.
The programme as a whole gives the orchestra plenty of variety - elements of challenge, beautiful moments with sweeping themes and exciting climaxes. Suppé's Poet and Peasant Overture is new to most of the players I suspect, but they have enjoyed getting their teeth into it. It will make a great start to the concert, with some lovely opening elements for each section of the orchestra (and a beautiful cello solo). Working on this has helped the orchestra develop their skills in listening to each other. They also enjoy the excitement of playing the livelier sections (with great flurries of percussion), interspersed with the flowing dance elements - it is a real crowd pleaser! Borodin's Polovtsian Dances is also an exciting piece - very vivid, with distinctive folk elements. Borodin certainly had a gift for melody and rhythm, and the players really enjoy this. The five sections of the Sibelius En Saga are also full of musical interest - everyone gets a chance to shine, (including a trumpet trio and a viola solo). This is 'a story' or 'fairy tale' for which we invent our own libretti - it is easy to imagine a hero who is on a quest that takes him through mystical sound effects, vales of sighing, thundering tumults, and grim pools of despond. And then the Swan Lake suite - well, it has been great to hear favourite movements - both the Dance des Cygnes and the Valse are amongst the best loved highlights of this work - maybe we have Walt Disney to thank for that! - and the players clearly enjoy playing well recognised pieces.
So, all in all, I think Michael has chosen a great programme for the players. There has been plenty to challenge them this term - lots of intricate note patterns; string players grappling with difficult cross-string bowing configurations; wind players counting ferociously; brass players struggling to find the right harmonics; percussionists being expected to show great dexterity and fretting about getting the cymbals on the right beat of the bar... you name it, everyone has had to work hard.
In the midst of it all Michael has been giving multiple complex leads with his customary musical command, singing the odd part here and there (I often wonder whether he will remember not to do this in the concert!) in order to keep the 'show' on the road. It's all coming together, but its nail biting stuff. Two more rehearsals before we hit the Sheldonian itself, and it's a pretty daunting venue. Let's hope the players don't get stage fright!! I'm really looking forward to it. If you had asked me three weeks ago I might have admitted to being slightly stressed out, wondering whether we were going to make it in time, but hearing them now I have faith in Michael and the players. I think it's going to be a great concert. It's such a fun programme, and I can't think of a better way to stave off those pre-exam blues! :)
The programme as a whole gives the orchestra plenty of variety - elements of challenge, beautiful moments with sweeping themes and exciting climaxes. Suppé's Poet and Peasant Overture is new to most of the players I suspect, but they have enjoyed getting their teeth into it. It will make a great start to the concert, with some lovely opening elements for each section of the orchestra (and a beautiful cello solo). Working on this has helped the orchestra develop their skills in listening to each other. They also enjoy the excitement of playing the livelier sections (with great flurries of percussion), interspersed with the flowing dance elements - it is a real crowd pleaser! Borodin's Polovtsian Dances is also an exciting piece - very vivid, with distinctive folk elements. Borodin certainly had a gift for melody and rhythm, and the players really enjoy this. The five sections of the Sibelius En Saga are also full of musical interest - everyone gets a chance to shine, (including a trumpet trio and a viola solo). This is 'a story' or 'fairy tale' for which we invent our own libretti - it is easy to imagine a hero who is on a quest that takes him through mystical sound effects, vales of sighing, thundering tumults, and grim pools of despond. And then the Swan Lake suite - well, it has been great to hear favourite movements - both the Dance des Cygnes and the Valse are amongst the best loved highlights of this work - maybe we have Walt Disney to thank for that! - and the players clearly enjoy playing well recognised pieces.
So, all in all, I think Michael has chosen a great programme for the players. There has been plenty to challenge them this term - lots of intricate note patterns; string players grappling with difficult cross-string bowing configurations; wind players counting ferociously; brass players struggling to find the right harmonics; percussionists being expected to show great dexterity and fretting about getting the cymbals on the right beat of the bar... you name it, everyone has had to work hard.
In the midst of it all Michael has been giving multiple complex leads with his customary musical command, singing the odd part here and there (I often wonder whether he will remember not to do this in the concert!) in order to keep the 'show' on the road. It's all coming together, but its nail biting stuff. Two more rehearsals before we hit the Sheldonian itself, and it's a pretty daunting venue. Let's hope the players don't get stage fright!! I'm really looking forward to it. If you had asked me three weeks ago I might have admitted to being slightly stressed out, wondering whether we were going to make it in time, but hearing them now I have faith in Michael and the players. I think it's going to be a great concert. It's such a fun programme, and I can't think of a better way to stave off those pre-exam blues! :)
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