February 7, 2013 at 6:35 AM
From Tom HolzmanMake sure someone will wake you up before you have to come in, and watch out for the change from forte to mezzo-piano in the fourth measure.
Posted on February 7, 2013 at 2:12 PM
From Lisa Van SickleAt least it's in a friendly key signature. Just keep that intensity coming! Maybe you could count out loud.
Posted on February 7, 2013 at 5:18 PM
From Charlie GibbsI always wondered what the sheet music for John Cage's "4:33" looked like.
Posted on February 7, 2013 at 7:52 PM
From Tom HolzmanCharlie - I bet in "4'33" the time signature was 6/8.
Posted on February 7, 2013 at 9:14 PM
From Terez MertesHilarious!
Posted on February 7, 2013 at 10:18 PM
From Trevor JenningsCage's 4'33" isn't in 6/8; it's a waltz in 3/4. See http://thesession.org/tunes/2399, where you can also download the sheet music. It's in the key of G-dorian, although my considered opinion at the time was that it should be E-locrian. Today, I'd be happy to settle for D-minor or even F-major.
Posted on February 7, 2013 at 11:26 PM
[edit added] A learned contributor on the above linked website pointed out a few months ago that it is the first movement of three, the others being a hornpipe and a jig. The evidence surely must be that recently discovered 11th century parchment in the Monastery at Melk, which is believed to be the earliest known example of a music manuscript written in invisible ink.
From Tom HolzmanTrevor - I was joking, but thanks for the link.
Posted on February 7, 2013 at 11:39 PM
From David BurgessIs that a viola cadenza? :-)
Posted on February 8, 2013 at 3:06 AM
From Emily GrossmanNot with that kind of intensity, it's not.
Posted on February 8, 2013 at 3:41 AM
From marjory langeGlad the bass-clef part isn't too challenging...
Posted on February 8, 2013 at 1:53 PM
From Trevor JenningsOut of interest, what cello concerto is it? In any event, from what I can see of the score, with those frequent changes of time signature, careful counting in a page of rests is of the essence. Don't rely on the section leader, or even the conductor.
Posted on February 8, 2013 at 2:26 PM
From William RhodenAmazing! Don't forget to sell the intensity with your face as you rest.
Posted on February 8, 2013 at 2:45 PM
From Emily GrossmanIt's the Dorman concerto. The conductor writes that it "will require some slow practice and wood shedding on your part individually to master these rhythms."
Posted on February 8, 2013 at 5:50 PM
From Emily GrossmanAnd yes, I've been practicing it carefully.
Posted on February 8, 2013 at 7:34 PM
From Laurie NilesI suppose the question is: Do you actually have to play after all those rests? :) The person who can count rests best is the most valuable person in the section, yes?
Posted on February 8, 2013 at 7:42 PM
From Emily GrossmanIn actuality, the second page is quite incredible; I'm taking it very seriously. (In case any section leaders or maestros happen to be reading...;) )
Posted on February 8, 2013 at 10:31 PM
From Trevor JenningsI've just googled "Dorman Cello Concerto" and, lo and behold, its World Premier performance is February 23, 2013 with the Anchorage Symphony Orchestra. No wonder I couldn't find it on IMSLP :).
Posted on February 9, 2013 at 1:30 AM
I hope it all goes well Emily - I've recently played in a couple of premiered performances, one of them a doublebass concerto, so I've some idea of what these occasions are like - and I'm sure we look forward to a blow-by-blow account here when it's all over.
From Emily GrossmanI guess that means I can't cheat by looking up a recording...
Posted on February 9, 2013 at 2:44 AM
From tammuz kolenyoDorman Concerto or Dormant Concerto? :o|
Posted on February 9, 2013 at 5:18 AM
From Trevor JenningsThe doublebass concerto I referred to above was rehearsed and conducted by the composer. A few weeks before the concert he gave everyone in our orchestra a CD in MIDI format of the piece to help us with the complex rhythms - in one movement in particular no two successive bars have the same time signature. He used Sibelius to compose it, so it was no problem to provide a MIDI version. MIDI sounds dreadful of course, but it really did help with understanding the structure.
Posted on February 9, 2013 at 12:26 PM
Incidentally, why is it that some modern composers go out of their way to make things that little bit more difficult by changing time signatures every bar or so? And I don't mean 3/4 to 4/4. I can cope well enough with Eastern European rhythms such as 11/16 because they are intimately connected with folk dancing, and are obvious when you see the dance, but the purpose of the rhythmic structures of some modern art music does elude me.
From Emily GrossmanI must abstain from further public comment regarding modern composition.
Posted on February 9, 2013 at 7:00 PM
This entry has been archived and is no longer accepting comments.
Hear more from the world's top violinists in The Violinist.com Interviews: Volume 1, which includes our exclusive conversations with Joshua Bell, Sarah Chang, and David Garrett, and others, as well as a foreword by Hilary Hahn.
Enter to win Rachel Barton Pine's just-released recording of the complete Mozart Violin Concertos and Sinfonia Concertante!
Emily Grossman is from Soldotna, Alaska. Biography
Please consider supporting Violinist.com by becoming a sponsor, and reaching our dedicated community of violin professionals, students and fans!