| Thanks, guys, it was a fun week but not without its challenges. Osmo's interpretation was rather singular, to put it mildly. many parts of it were slower than we're all used to and so we had to adjust to a very different flow. You know, places where you're not used to hesitating suddenly you're puting on the brakes... places where you're used to going a certain direction with dynamics you go a whole 'nother way... so, you grow and show some flexibility.
Something very cute happened after last night's show I wanted to share:
So, we finished the performance and everybody was hooting and hollering when our second 'bone player, Kari Sundstrom, started laughing and pointing to the third tier, "Check it out!". We looked up and there was a HUGE banner that said "We love (heart) BRASS"! Apparently, some students from St. Olaf had gotten tickets for the front row of the third tier and had this planned for a while. It was very sweet and we got a kick out of it. Thanks, you Olies!
Back to the larger point, though... it's really important for all of you that are considering an orchestral career how flexibility must be a part of your musical makeup. without that you will be a very unhappy player because your hands will all feel tied. Ask Wilmer and he'll tell you the same. He has produced a long and beautiful career using that characteristic. It's about attitude, really. You have to have a good attitude about change. You can always find some common ground if you really try without giving up your musical personality.
ML |