Arcady Ensemble’s “Garden Walk” concert– the first half was a setup where, instead of musicians assembling in a central location for a concert, musicians are spread out through the Whistling Gardens playing solo works with related thematic material, and the audience walks around through them. Ronald Beckett’s music is always fantastic and the dedication of his audience to the ensemble is impressive.
My spot in the garden
The entrance to the performance space
Who am I to disagree?
Back in Regina to play Aura Pon’s Romp and Repose.
Our old house for sale… (not by us, the landlord had planned to sell it when we moved out)
That cat in the window of that place on Albert
SCARY SWOLE BUNS I MISSED YOU
For a school show one year, Christian and I did a sort of competition where we each had to play a snippet of Vivaldi at gradually increasing speed and the kids chose a winner. Pretty sure Christian was cheated out of many rightful wins because my instrument looked cooler.
The ears are what happens when you play Opus Zoo around Christmastime.
You don’t get many “triumphs” as personnel manager… if everyone’s onstange at the right time you get to sleep at night, but not much more… however, I did arrange for the Saskatchewan debut of the bass oboe… here it is.
The only photo of my playing the bassoon that makes it look kinda cool.
This week we played two iterations of a holiday circus show— one in Brandon, and one in Regina. The first show, in Brandon, was in a hockey arena, and featured a Wheel of Death, which I’d never gotten to see live before. Unfortunately, the show in Regina was in the Conexus Arts Centre which is too small for it.
The part for Sleigh Ride featured the signatures of everyone who’d played the show recently– so of course the following evening I got a text from Mike Hope of the Calgary Philharmonic, who was playing the show that evening. (In the Saddledome, so they did have enough room for the wheel…) Sign your rental and touring parts, folks! :D
- As I mentioned, I memorized the piece to play for a recording with piano, but used the music in performance with the orchestra. I taped together the part such that there were no page turns during movements, but it still left a page turn in between Craeb Uisnig and Dathi, which are attaca. I wrote in the rest bars at the beginning of Dathi on the previous page, and waited to turn until mm 15, the 2/4 bar where the wind section is making the most noise.
- Mm 41. Let me tell you a story. When I first heard Judith Leclair’s recording of this, I didn’t like that she played this bar legato. Nothing wrong with it, I just didn’t like it, and wanted to play it more emphatically. Except every time I tried, I cacked at least one note in it. When I tried it legato, presto, cacks gone. After several months of this, I gave up and played it legato. And they all lived happily ever after, the end.
- Mm 45, move a little… compared to what? Unclear, but I chose to interpret this as move a little compared to the dramatico section immediately preceding it, and consequently my tempo for 45is a little bit slower than for 35: better to not sound rushed on the runs in what should be a fairly calm section, at least for the first few bars.
- Mm 46 in the second edition of the bassoon part is, mystifyingly, marked 45a in the score and orchestra parts, and the numbering discrepancy remains for the rest of the movement. I’ll here continue referring to location by their marking in the bassoon part.
- Mm 50: 80 to the EIGHTH. Not the quarter. Jesus Christ. (At least, this is closer to the tempo of both recordings, and… well, try it yourself and see.)
- Mm 70 I played the easy version. Sue me.
Or, as my partner and I took to calling it, “the crab uprising.” Although this was the most difficult movement to learn and memorize, it turned out to actually be one of the easiest in performance. The solution (for me, and the conductor and orchestra I performed it with) was to just completely cede control to the conductor. I could see him out of the corner of my eye, and having a steady beat to follow made it easy on me— and not having to try to follow me made it easy, I hope, on everyone else.
Taking a survey of all two commercial recordings of the piece, the eventual tempo of both is 160 to the eighth. Towards the end of my preparation I was playing it mostly at 170, but I put in my order for 160 anyway, and was glad I did— it felt just slow enough in performance to remind me not to rush.
Since I had decided in advance that I would ask to be a follower, not a leader of this one, I also made a few different videos of myself conducting it at tempos between 150 and 176, and then later also asked my husband to conduct it while standing beside me to practice watching out of the corner of my eye. Both helped a lot.
On to the specifics:
- Start whisper locked Breathe with conductor’s upbeat for a relaxed-feeling first bar.
- Mm 3 R4 on F#, hold flick key for C (and all subsequent notes in that register when locked, obviously.) Lock will pay off in mm 6.
- Mm 7, and all of the triplet runs coming up, are at risk of rushing, take them easy.
- Mm 9 unlock during quarter rest Mm 15, 16 L fingering only on runs
- Mm 17 hear the timpani in rests Mm 31 L hand only for C# and high A
- Mm 32 L for Db, then use a fingering involving R4 for the F# so you can keep R4 there while slapping down the usual L hand for A before sweeping the L thumb up for the rest. My experience with this run was that focusing on hearing the high A would ensure the rest of it popped out easily, whereas stressing about the very top of the run would cause the entire upper range to cack.
- Mm 35-37 For me this run was all about not rushing, and by extension, figuring out which notes I was most likely to give short shrift in the race to the top. Technology to the rescue, with slow-downer apps. I use the iOS app Anytune, but there are plenty of others available: just record yourself at tempo with no metronome, slow it down, and see what you’re really doing! For me, once I had gone through about a year’s worth of slow practice and various rhythmic tricks to work it up to tempo, the note that I most often skipped or rushed over was the F in the second beat of 36. Again, if I concentrated on that note, and also cast a glance in the direction of the C at the very end of the bar, preparation took care of the rest and it popped out.
- Mm 43-44, essentially the same process as the previous big run. In the interest of full disclosure, my accuracy rate was slightly lower on this one, but locating my anchor note (the high B in the last beat of 44) and calmly concentrating on nailing that note still generally produced at least an acceptable smear, mercifully ending on a high D.
- Mm 75, do not even try to breathe in that rest.
- Mm 76, last eighth note beat: a forcefully articulated E, then just lift R 2 and 3 for a passable-under-the-circumstances F#. I did a lot of practicing of just this beat, then adding on the runs leading up to it piece by piece. - Mm 88 The only trill fingering I could figure out for this was to play a high C with the D flick key, then trill R3. At least on my bassoon, it wasn’t ideal in that it had a tendency to cack if pushed too hard in the swells. Luckily the orchestra is the main event in those bars anyway, but if anyone knows something better, grab your time machine and HMU a year ago, thanks.
- There’s an eighth rest in the orchestra before the bassoon enters at 97, so hear the silence before jumping in.
- Note the difference in the rhythm between 98 and 99.
- 103-109 these statements can be out of tempo, but really why bother.
- 115-120 I had a hell of a time with cacking these Bbs, and I honestly have no idea why. What eventually worked as to give each one the slightest separation in the air before each one. Hopefully not too noticeable.
- 123 They’re only sixteenths, no rushing.
- Before the beginning of this movement would be an excellent time to blow out your tone holes.
- Mm 30 I found this sextuplet weirdly prone to fumbles for a long time. Used the L only for Eb and R4 for Gb. I struggled for a long time with the last note. Using the D flick key for it makes it super easy, in tune, easy to fade… oh, if it doesn’t have water in it. If it does have water, all that will emerge is a pathetic gurgle. Also, there’s no way to figure out in advance what state the tone hole might be in, and I found mine frequently managed to fill with water— somehow— during the movement, even if I cleared it out beforehand. So about a month before the performance, I finally threw in the towel with it and started using the C key, gradually shading with the L 2nd finger to help with the fade.
Continuing on to the second movement!
- Interestingly, much of the concertmaster solo part is marked in various shades of soft. Bassoonists, who are conditioned by Beethoven symphonies to know that “p” stands for “play out” and “f” stands for “fuck it, this is the someone else’s responsibility,” tend to take dynamic markings with a heavy grain of salt, which can be lent to a violinist friend in a time of need.
- I don’t know why, but before this movement starts, I constantly have the urge to put the whisper lock on, and need to remind myself to… not.
- Mm 12, useful to anchor the mind on the Bs.
- Mm 22, it is tempting to get started early on these, but the B and the C take place on the second and fourth eighth notes of the bar, respectively.
- Mm 29, I found it helped with overall cleanliness to: 1) out of all the notes that take place on the second eighth note beat, focus on the open F; and 2) on the first eighth note beat, play the E with the overblown single-finger fingering, not the full E fingering, and then flick the A that comes after it. Mm 38, things are getting a bit heated rhythmically, and Chris Millard made the extremely helpful suggestion that, instead of feeling the first half of the bar as a triplet, that you continue feeling it in eighths (ie with the emphasis, internally, on the B.
- Mm 39, theoretically the same should apply to the identical figure in he second half of the bar. For some reason, though, I was never able to feel it that way. Go figure.
- Mm 43: so, is there a difference, practically, between the rhythm in this bar and in mm 11 et al? Reach for the stars, friend-o! Or don’t. I doubt anyone will notice or care. I think I tried to make a difference between the much more obviously juxtaposed 45 and 46, by which time the bassoon is accompaniment and it doesn’t matter anyway.
- Mm 48, I found focusing on the E of the fourth eighth note beat made the thing marginally more likely to happen.
- This cantabile section is a memorization nightmare. I went by the rule of thumb that most of the held notes have two beats happen during their tenure— whatever their actual length might be— and memorized specific deviations from that rule. Once I had it in my head, I actually had to look away from the part during the performance, or the visual would cause me to second-guess what I knew was correct.
- Mm 101-102 it is very easy for the triplet-sixteenth rests in the middle of the beats to be too long, especially if you are attempting to play the rhythm in the latter half of 100 as a true sixteenth pattern. I found that these two bars had a tendency to drag, but then 103-105 are easy to rush. Neither option is particularly recommended at this point in the shitstorm.
- Mm 108 should feel like it is happening in slow motion. The violin shot in the middle of it has nothing to do with anything.
- I found it helpful to avoid breathing in the first eighth beat of 109.
- Mm 114-116 more slow-mo. If you rush here, you are gonna experience some intense regret real soon.
- The most difficult part of the next section is just not letting the excitement get you you. It’s pure movie-star John Williams but for 117-125 I just had to stay on the back of the beat, listen to the bass clarinet and section bassoons during the rests, and focus on anchoring on the G#s in 123 and 125.
- The most difficult part of mm 130-131 is literally everything. By the time I performed the piece, I could play these bars correctly. It took two years. Ways that I practiced it, at various points:
- Slowly, obviously. Really slowly.
- Omitting the entire upwards run, focusing on the interval between the first note of each beat, and the triplet at the beat
- Omitting the triplet at the end of the beat, focusing on the septuplets as groupings of 4+3
- Focusing on specific notes as anchors: for me, the ones that were most important to concentrate on nailing were the Bb and E in the first septuplet run, the C in the sextuplet, the A in the triplet immediately following the sextuplet, and then the final septuplet isn’t too bad with an emphasis on the octave between the Gs, and aided by the one-finger E and overblown open F.
Don’t let the wizard get you with the broom on your way out.