Crashed

I’m whipped and wiped. I was a fool for trying to do brass and reeds both.

Breakfast with (inter alia) Barbara Weiss, who it turns out is in Asheville NC and has a real job (Physical therapy for old ladies I think), but still does music when it comes to her. she seems happy, so I’m cool with that

Morning dulcian class was great, but tough…just Laura and I, and Dr. Gerald Hoekstra sitting in to listen and take notes. Bob was pretty unimpressed with my current reeds, but needs to adjust the ones he made me to the instrument. And when I’m trying to play well with others and implement a whole ton of new directives, my playing goes right to hell.

Sackbut class was more a playing session…we got drafted to play at the observatory visit tomorrow night, while people are waiting for their turn at the telescope. The reed playing didn’t mess my brass chops up much, but then we were mostly doing Susato dances transposed down, and it was harder on my arms than my face. Then off to a lecture on Galileo, and back to my room for lunch.

Loud band was the killer: it was Laura and I vs. 5 sackbuts, and a lot of the charts were ATTB.  And since the sackbuts were in the majority, it was the shawms that had to transpose (or rather, to read G fingerings instead of F fingerings). So I was playing in the upper register, in a strange fingering system, having to play Bb (the worst note on a G shawm). It was a case of epic FAIL. Joan had a Hanchet F, which made transposition easier but not playing in general…I found it heavy, an uncomfortable finger stretch, and unresponsive, besides not sounding much like a shawm. But it may be the best solution. I hate to suck, but I’ll be lucky to find any practice time before tomorrow’s rehearsal.

Mass wasn’t bad once my lips decompressed from the shawm, but I left exhausted, went out for another overpriced and undervalued meal, wandered too far, and got back too late to practice before the concert: Landini by the Newberry Consort. I’ll have to ask David Douglas how he gets international violin virtuosi to stoop to playing rebec for him. I knew that Rachel Barton Pine played Baroque, but never knew she had any interest in medieval. Her star moment was trading phrases in “La manfredina” with David, in an accelerating tempo. David held his own well, but I think it was obvious who was used to offering fistfuls of fast notes.

Off to bed…

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