Last night’s wind and percussion sectional went very well.  We worked quite a bit on the first movement of the symphony at first, focussing on some balance and intonation issues.  The “gammy-legged” waltz (2nd movement in 5/4) was a bit tricky for ensemble without the strings present to play off and listen to.  The 3rd movement sounded fantastic–it really cooked.

The antiphonal snare drummers, Joe and Mike, were first rate (as usual) in the Rossini–if we can hold the tempo, this overture is going to be really fun.

Tonight we meet our concerto soloist for the first time–James Dick, Founder and Artistic Director of the acclaimed Round Top Festival in Texas–for the mighty and hugely popular B flat Piano Concerto of Tchaikovsky;  this is a piece which has been in his blood over most of his long and distinguished career.  Looking forward to it!

Chris Z

Tchaik Concert–rehearsal 1

Last night we had our first rehearsal for the upcoming concert this weekend–Tchaikovsky and Rossini.  Given that we are preparing this program on only 3 full rehearsals, I thought it critical that we incorporate some sectional work and yesterday the strings and I worked together (tonight will be winds and percussion).   That all the pieces in this concert are undoubtedly very familiar to almost every FSO musician (and most players will have played them many times) doesn’t alter the fact that this program is a real technical and emotional–even physical–challenge;  particularly Tchaikovsky’s mighty symphony no.6, the “Pathetique”.  I spent a lot of time encouraging the orchestra “not to slow down!”, particularly in the symphony’s 3rd movement–a frenzied march, which needs to have a somewhat grotesque relentless sense to it, bordering on the hysterical, but hopefully not crossing over into chaos.  I am convinced that this piece is the precursor to the dangerously dark and morbid sensibilities of Mahler and Shostakovich.  Anyway, there were certainly some difficulties in maintaining this momentum, which  was certainly not lost on the orchestra;  one player came to me afterwards expressing her concerns, politely suggesting that we would have a better chance of good ensemble if I insisted people play “right on the beat” rather than allowing for a delay.  Ah, the delay…..this is always much food for thought for conductors.  The “delay” phenomenon is often the result of a complicated mix of elements to do with sound, expression of the music, the relationship with the orchestra and even the relation between the players in the orchestra.  Don’t get me started!  However, the point is well taken, especially for fast and incisively rhythmic music and I appreciated her remarks.

More tonight– this time with the other half of the FSO

Chris Z