Popper practice

Since orchestera was still on break Monday night, we got together to practice the Popper Requiem. Now that our dates to play it with the orchestra are set, for the next series of concerts at the end of March and beginning of April, we know we need to practice regularly.

It was a productive session, with good progress and a lot more that we need to make to be concert-ready. We played through it multiple times, and spent a little bit of time starting to discuss bowings, entrances, endings, and ensemble-related things. There are some things that you can't practice alone. I definitely need to work on playing out on my solo bits. I was really happy that I played my sections with 32nd notes pretty well (the piece is in a slow 3/8 but the shifting on the 32nd passages is very tricky). Cello2 and I really need to practice the bit where we're together on a run of 32nd notes. We were together rhythmically most of the time, but we need to work on our intonation while playing together. The piece is in F# minor, and since I'm cello 3 I play a lot of F sharps on the C string. I am still having trouble with the intonation of the F sharp. Many times I come in after the others are playing and tuning it to them is really hard. But all in all, for a first rehearsal it went well.

There were 2 weird incidents during practice. I've written about Cello1 in another post, about Cello1 absolutelty having to play the first part (of course she's playing cello 1 for the Popper!). She also has very definite ideas about how the piece should be played...she spent time correcting Cello2 and my fingerings and bowings, which wasn't a bad thing. I appreciate her passion about playing the music, but on the other hand, she won't really listen to our ideas about how sections should be played.

Weird incident #1: The last phrase has Cello1 and Cello2 playing a figure together that goes "daaaaa..da.dummmmmmm". I simply play "daaaaaaaa.dummmmmmm". The "daaaaa..da" is written as one beat long and the "dummmmm" is held until we stop playing. We spent a lot of time arguing about the rallentando at the end. Cello1 kept playing the "daaaaa..da" 2 beats long during every run through. The first time we all did different things. The second time Cello2 and I listened and we followed her lead. Later, Cello2 said, well, there should be a rallentando at the end of the piece but I don't think it should be 2 beats long...we've followed you and stayed together which the most important thing, but I think 2 beats is too long, especially since there is no 'rit' written in. Cello1: Oh no, it has to slow down like that. 1 beat is too short. I'm playing it right! Her attitude the whole time: "my way or the highway" Cello2 and I finally just said, Ok, we don't agree but we at least have to do it the same way every single time and let our conductor know how we're playing it because the orchestra has to follow us and we need to be consistent.

Weird incident #2: My teacher recorded all of the parts for us as practice files - 1 version with all 3 parts, and versions missing a part (1 and 2 only, 2 and 3 only, 1 and 3 only) so that we could have practice files. I also asked him if we could take one of my lessons as a coaching session, which he agreed to do. Cello2 has been enthusiastic about having him coach us. So, at the end of our session, when we were trying to set up future practice times, I said, We need to pick a Friday night some time to have a coaching session with my teacher. Cello1: Oh no, I don't want to do that. Cello2 and me: Flabbergasted. A little more discussion. Cello1: No, we don't need a coach. All we need is the conductor. (who, by the way, is not a string player). No budging from this position. Needless to say, at this point I don't think we're having a coaching session. Maybe I'll take Cello2 with me for one lesson and the 2 of us can get coached together.

Cello1 is an excellent cellist, and I have learned a lot from playing with her, and most of the time it's pleasant. However, I am finding these behaviors really disturbing. I think that if we actually make it to the concert without killing each other we'll be doing very well. I also think that I won't be trying to play with her again if I can help it!

the last amusing note - figuring out why we haven't practiced together much prior to this (besides the feeling like, oh yeah, it's so far away...which we don't feel now). We went through every week night. Monday night is orchestra, and we've tried to practice before rehearsal but it hasn't worked well, and I don't want to rehearse after because I leave on the first flight on Tuesday mornings and already don't get much sleep....which cut out Tuesdays and Wednesdays, the days that I'm gone nearly every week. Thursday nights Cello1 has rehearsal with her other orchestra. Friday night is my cello lesson. I don't remember when Cello2 has his harp lesson. That left Saturday and Sunday. Cello2 and I looked at each other and I said, either we (Cello2 and me) don't play on Saturdays or I don't play with my Sunday chamber group. Cello2 said, waaa, I want to play on Saturdays! Anyway, it looks like I'm going to take a short break from my Sunday group. No wonder we haven't practiced much together!