Category Archives: Music

In Which She Joyfully Shouts The Very Good News

I just got a phone call.

THERE IS A NEW 7/8 CELLO AT THE LUTHIER’S SHOP!

Why yes, I *am* shouting. Also dancing, and doing lots of jumping up and down. Yes, I want to go right over, and no, I can’t, because the boy is home with me, and once he wakes up from his nap we have to pick HRH up. Friday’s out, because we have a lunch date, although maybe Friday afternoon? No, I won’t be able to handle the boy alone if I’m trying a cello. Maybe Saturday morning. Probably Saturday morning, actually, because no one will be able to live with me beyond that point.

7/8! 7/8!! 7/8!!!

In Which She Celebrates An Awesome Rehearsal

Hello, we are the LCO, and we are about to kick some serious musical behind this coming July 1 at the Canada Day concert.

We played through the entire program at last night’s rehearsal, and it sounded full and cohesive and just about ready. We had multiple horns last week, and this time we had a trumpet too. Now all we’re missing is the trombone. (The conductor has been singing the trombone part so far. It has been very amusing for those of us sitting right next to him who can hear it.)

Best of all? Brad’s our trumpet player! Once again I had no idea he was there until the conductor directed a question at him, and I perked up when I heard his name. How many Brads can there be on the West Island who play trumpet, after all? When the night was over I tidied up and headed over to say hi and reconnect with him. He was just as surprised to see me. It’s a small musical world around here, really. And it’s good, because it means I get to run into people like Brad every four or six years, sometimes more often if I’m lucky.

And It Continues…

This morning in the car the boy delivered a creditable version of the chorus to “The Mesopotamians”. He hesitates on Gilgamesh and slurs through Ashurbanipal, but it’s all there. I can’t tell you how hilarious it is to hear a three year old say Hammurabi and Gilgamesh.

He requests that one three times in a row, and “Dr. Worm” as well. He knows three times is the limit, no matter how much we love TMBG.

At some point I will introduce him properly to G&S.

Indoctrination

We had a great weekend, partly due to a financial snag smoothing itself out thanks to HRH’s willingness to do some freelance reno work over the his vacation. It’s astonishing how much better we feel with bills paid and a full pantry.

We also joined the other local coven of our tradition in a Solstice celebration. True to our experience of the gods loving irony, it started to rain as soon as the celebrant invoked the Sun God. Fortunately, we’d gone out that morning and bought a 9’x9′ awning for the back porch, something we’ve wanted to do for a while, so we all sat there and did the ritual anyway. And when it was over and the celebrant spoke a thank you for the Sun God’s presence, the rain stopped and the sun came out. It’s a good thing our trad formally recognises laughter in circle. Then we all had an excellent, excellent barbecue, and I had the great satisfaction of making a salad with ingredients mainly pulled from the garden. The boy woke up from his nap and joined us for the last half-hour, munching happily on hot dogs and showing off his new Wall*E figure.

When everyone had gone home and the boy decided to go inside to play, I asked him if he wanted to watch a new movie and he was very interested. So I put my new The Sound of Music DVD on (hurrah for gift cards), and he watched attentively through the opening scenery shots, whispering, “Do you hear that?” when the wind picked up. He was entranced by the swell of music and Maria running through the grass. “She is happy!” he said. “She is running, and singing!” And he kept watching, asking questions now and again, and I’d explain what people were doing. (Upon seeing the nuns in church, he whispered, “Do they talk?”. “Not in church,” I whispered back. “They do talk!” he said, beaming, when the scene in the courtyard started.) Once in a while his attention would wander during longer stretches of dialogue and he’d start playing with his trains or Wall*E, but whenever someone began to sing his eyes would snap back to the screen and he would be still. After the “Do-Re-Mi” sequence (also riveting for him, partially due to the children, partially due to the music, and partially due to the many different architectural and decorative details in Salzburg) I thought I heard him humming ascending three-note phrases while he played but I dismissed it.

Then we reached “The Lonely Goatherd” sequence and as the opening music played I said, “Liam, I think you may recognise this.” He’d already recognised it on the CD earlier in the week. And when Julie Andrews began singing he said with great delight, “This is the Muppets song!” (Episode 217, of course, is where he first encountered Andrews and this particular song. I love the Muppets in general, but the delicious irony of having Andrews sing “The Lonely Goatherd” with a bunch of puppets is positively exquisite.)

He sat in front of the screen and watched raptly. When the sequence was over he said, “Can we watch it again?” So we did. And a third time, too. He mumbled something under his breath at one point, but we didn’t catch it. It wasn’t until we said that we really needed to watch the next song that he let the film continue. He watched “Edelweiss,” which wasn’t as visually fascinating but nonetheless familiar to him, being one of the lullabies I used to sing to him when he was very small, and then started playing with his Wall*E again, moving it along the back of the chesterfield.

And then we heard it clearly: he was singing “oh-de-lay-lee, oh-de-lay-lee, oh-de-lay-lee-ooh,” and making Wall*E dance.

I looked at HRH, and HRH looked at me: we both had idiotic smiles on our faces, trying not to laugh. “Your heart must be ready to burst out of your chest,” said HRH, “judging by what mine’s doing.”

“Oh, yeah,” I said.

“You’re so blogging this, aren’t you,” he said.

“With great delight,” I said.

We also heard him do a rough approximation of the beginning of “Edelweiss” too before the ballroom scene, by which point he was on HRH’s lap. “I need my cello!” he exclaimed upon seeing the chamber orchestra, so I got it for him and he played it (matching the rhythm quite well, too) before he strummed the lowest string so enthusiastically that it slipped off the bridge, so I put it away.

And, irony of ironies, I stopped the film at the wedding because it was past his bedtime.

I wonder how long it will be before he asks to watch it again.

In Which She Muses Upon The Importance Of Contrasting Musical Approaches

We had a guest conductor in to handle the first half of Wednesday’s rehearsal, as our conductor was off at his own retirement dinner. (Or I may have misunderstood and it was someone else’s retirement. Whatever: he was not there, being otherwise engaged in dining to celebrate someone’s retirement.) The guest conductor’s first name was Peter, although I missed his last name.

He was brilliant.

We worked on the 32nd symphony, and he was fantastic. He had us really work on the musicality of the piece, asking for different sounds, talking about how the parts worked with/against one another, how the dynamics were crucial. He was a violinist, and so now and again he’d grab his violin and demonstrate the sounds or the phrasing he was looking for. He used simile, metaphor, and humour to get us to understand how to produce the sounds he was asking us to do. (He told the celli we sounded like a nail gun at one point, and although we all laughed we knew exactly what he meant, and proceeded to shape the repeated eighth notes in a particular cycle as he requested.) And it worked, it all worked. He had us sounding tight and focused and blended. Ultimately, what he had us work on was the emotion of the piece, something that’s hard to focus on by yourself in a large ensemble. The first half of the evening flew by until he suddenly looked at the time and said we had to stop. The orchestra broke into spontaneous applause for him, and the first question asked was, “Where do you conduct?” He admitted that he didn’t, but that he did coach.

Now, none of this implies that our regular maestro isn’t a good conductor: Douglas has done fabulous things for us in the past five years, introducing new styles of music, broadening our scope, and pulling a new sound out of us. What Wednesday night demonstrated to me was that having a fresh leader and a different spin on the music made us think about how we play it in a different way. It’s kind of like how running your writing past a fresh set of eyes helps you understand it differently. I wonder what having a guest conductor in a rehearsal now and again on a regular basis would do for us. By addressing different details, Peter gave us a new understanding of the piece, and I really hope we can carry it over to the other pieces we play. It’s not enough to just play what’s there; we have to give it personality as well. We’ve been trying to focus interpretation in our section by emphasizing certain things, making repeated phrases after the second time, leaning on certain beats and so forth, but we can’t make it happen everywhere. There was a complaint in our section that our principal was complicating the music and we should just stick to what was written down, but there’s so much missing if you just follow the bare notes. Interpretation and style are crucial. I’m glad Peter demonstrated that the entire orchestra could do it, and make the music sound extraordinary.

Our principal had to leave at the break; I won’t see her again until next fall. Simply sitting next to her has helped me so much this past season. It meant that in the second half I sat alone, and I have been very bad and not learned the principal’s solo in the My Fair Lady medley, so when it was suddenly there I stalled. Fortunately the man who sits behind the principal played through it, and I gave him a grateful smile. Everything else I handled pretty well, except the transition into “Edelweiss” in the Sound of Music medley, where the celli have the theme, and all of us stumbled. The transitions are nasty things in medleys; usually the key and the beat both change, and you have to go right into it. And for some reason my fingerings weren’t intuitive for me. I mean, they are intuitive in that if I remember where I have to go they work, but if I blank and just stare at the number (as I did Wednesday night) I’m lost. I’m thankful I’d reviewed all the musicals over the week at home (shock, surprise! I actually had time to practice!), otherwise I’d have really disgraced myself. I managed to be the only cello to carry on in a couple of odd places, too. Go me.

Three more rehearsals — next Wednesday, an extra one next Friday night, the dress the following Monday — and then the concert on the Tuesday. And then no orchestra until September again. This season has flown by. I’ll miss it a lot.

Ill-Timed

Having finished my work assignment by noon, then having handled a bunch of lingering accounting stuff, I read a book and then sat down to mess about with the cello.

I have been in the mood to go back and explore a Rudolph Matz suite I bought ages ago called Lights and Shadows. Except I can’t find it anywhere. And I realised as I searched for it again today that I hadn’t seen it since I packed the last apartment. I have concluded that it seems to have mysteriously vanished between there and here, along with my copy of the sheet music for “May It Be” (which isn’t anywhere near as great a loss). I haven’t misplaced anything else, only those two pieces.

So since I worked on the musical stuff for the concert last night, today I played some Bach suites instead, then fiddled around with some old band stuff for the heck of it. I came up with a new fingering for the miniature bass-drum duet-solo-thingy in “Till My Head Falls Off” and wondered why I hadn’t thought of it before because it was so blindingly obvious. I worked on “J’veux pas viellir” and cursed the freaking solo again. There’s an ugly bit that no matter what I do, it doesn’t sound good. But apart from that bit I polished the delivery and decided that should I ever play this again in performance, I’m making it completely legato, original be damned. (Heck, I’ve already messed with it by transposing and rewriting parts of it, why not make the cheerful heresy complete?) I think something a lot more flowing and resonant would sound better than the choppy staccato stuff. Staying close to the original is boring anyway (says the girl who hacked and hacked and hacked at “The Bonny Swans” and eventually settled on something that kind of sort of sounded like something Loreena McKennitt might have done in a studio once, and whose compatriots in musical crime gave songs such as “First We Take Manhattan” and “Insensitive” drastic makeovers).

But through it all, there was a part of my mind today that was saying, “Hey, you know, this instrument has really mellowed over the past couple of years. I really enjoy this sound.”

And then I found the hole.

The seam between the back and the rib between the upper and lower bouts on the right side is starting to separate. It’s not a real hole yet, but it will be as the gap continues to widen. At the moment there a millimetre of space between the two, held together with bits of varnish.

Wow, is this ever a bad, bad time for this to happen.

Fixing this will cost as much as, or possibly more than, that lateral move to the 7/8. It’s the same position our station wagon was in: the repairs it needed would cost more than the value of the vehicle itself. Repairing this cello won’t increase its value, so it’s like sinking money into a black hole when I could be putting the capital towards the new cello instead. Since I haven’t the money now to replace it, nor is the 7/8 I wanted currently available, I just have to be extra super obsessively careful with this one until the concert is over. And pray a lot.

Concert!

This is your two-week warning, faithful orchestra groupies. July 1 is coming up, which means that the annual Canada Day concert presented by the Lakeshore Chamber Orchestra is also nigh!

On Tuesday July 1 the Lakeshore Chamber Orchestra will be giving a free (yes, free!) concert as part of the overall Canada Day celebrations in conjunction with Pointe-Claire Village. We do this every year, and it’s always terrific fun.

This year’s programme features:

Symphony no. 3 – Mozart
Overture to The Marriage of Figaro – Mozart
Symphony no. 32 – Mozart
Selections from South Pacific – Richard Rodgers
Selections from My Fair Lady – Frederick Loewe
Selections from The Sound of Music – Richard Rodgers

The concert begins at 20h00. As always, it is being presented at St-Joachim church in Pointe-Claire Village, located right on the waterfront at 2 Ste-Anne Street, a block and a half south of Lakeshore Road. The 211 bus from Lionel-Groulx metro drops you right at the corner of Sainte-Anne and Lakeshore. Here’s a map to give you a general idea. I usually encourage those facing public transport to get together and coax a vehicle-enabled friend along by offering to buy them an ice cream or something. It works nicely, and it’s fun to go with a group. And hey, you can’t beat the price. Be aware that if you’re driving, parking will be at a premium because of the whole Canada Day festivities thing going on. Give yourself extra time to find a parking place and walk to the church, which will be packed with people.

Free classical music! Soul-enriching culture! And as an enticing bonus, the fireworks are scheduled for ten PM, right after we finish, and the church steps are a glorious spot from which to watch them.

Write it on your calendar, tell all your friends and family members! The more the merrier!