March 11, 2013

rehearsaling
in progress

friday, march 8:
I have been in the rehearsal room so long with this group of people and this music that it could be 10 AM or 6 PM and I wouldn't know the difference. time seems not to even matter. I look at the clock and it's 3:51 and only much later do I think, damn, it's almost evening.

except for 14 bars I accidentally broke off the page (and therefore left off entirely) of the bassi part, the rinaldo parts are, thank god in heaven, perfect. the bassi part thing was so stupid -- I had made a much nicer (and actually correct) version but somehow I added the old version to the parts. it was an easy fix but I hated my record to be marred by a stupid oversight. we probably lost about 1 minute in rehearsal about it so, you know. it's fine.

trap room
Untitled
newmark
tuning
Untitled

hours worked in the last 7 days
12.5
13.5
5
11
16
15
8

it's possible I have never worked harder in my life than I am working on this show. there was a lot of work in galileo but most of it was elective on my part. I certainly didn't have to write ten blog posts, one for every scene; I definitely didn't have to attend as much staging rehearsal as I did. for rinaldo all of the work is necessary, and none of it is from mistakes on my part. I've had to rewrite several numbers on the fly in rehearsal because suddenly, hey, actually we wanted this aria from the 1731 version but we thought we wanted it from the 1711 version, which is the version we (we = I) originally transposed. oh, but actually the 1731 version is lacking a da capo so if we could combine the 1711 and 1731 versions, taking the changes from the latter and incorporating them into the longer format of the former, that'd be swell. and we thought we wanted the oboes to play the trumpet III and IV parts for this aria but actually we want them on the trumpet II and III parts instead. and in this one number we want the oboes to play the trumpet part except for 15 non-consecutive bars where we want them to revert back to the oboe part.

I'm actually not complaining about this process at all. I've adopted a very zen attitude about the ever-fluctuating state of this music. it's a good opportunity to develop my ability to edit on the fly, right? and also if I were grouchy about all these changes, well, then I'd be tired AND grouchy and that's frankly too much. but it definitely is very tiring. there's not the same sense of "well, now the orchestra readings are done so my work here is over." I mean, I am still getting emails from the trumpet players saying, "actually we added the oboe to these two bars in #38 also, we forgot to tell you, could you change it?"

our conductor is the loveliest person on earth so I really don't care about any of this. but I did sleep until 10:30 this morning and needed every second of it. that is, by the way, in addition to having slept on and off for part of yesterday afternoon.

as usual, this is why I have not had time to blog. you understand.

by the way in addition to all that I also was going to the barn twice a day to cold hose Cookie's knee. the vet came out on wednesday and declared her to be sound, but did say, "geez, that lump is super weird and I have no idea what it is." we returned to riding on thursday but I haven't had a chance to see her since. after hanging out with her twice a day for almost a week, I miss her.

overheard in the office: "gary is in the camerata room 'spontaneously ornamenting.'"

2 comments:

  1. that's a crazy lot of work! but that conductor is one of the sweetest men on the whole planet. (i think we should clone him.)

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