David Bratman wasn’t as harsh as Scheinin. But his review isn’t completely positive.

Still, I guess he didn’t hate it, and he even writes that he’s not a Gershwin fan. So not totally hating it is a good thing, right? I know how I am when I go in to something not caring for a composer. (But read on below to see what I have to do if I’m working.)

(And we were sitting where we sat so our ears weren’t blasted away by the saxes, just so you know. It was actually our request to be moved. :-)

I have nothing in the concert, really. I’m not sure I would be missed if I had to skip out. It’s possible the Concerto might have a few small holes, but I’m not even certain of that. I’m not sure which is worse: feeling entirely unnecessary or being scared to death by a huge solo. Hard to say! But being scared to death keeps me more awake.

… okay … on to the “what do I do when I really don’t like a piece, a composer or a particular gig?”

I simply convince myself to believe in whatever I’m doing. Really. If I can’t do that, I don’t enjoy myself and I might not play as well. So if I’m playing a job that is miserable, I lie to myself. (Heck, I like to myself about my weight … why not about other things?!) I make the music matter, even when it doesn’t. I attempt to be the actor I think I can be (truth be told, I’m amazed by actors and could never become a real one). I try to sell whatever it is I’m doing. No matter what. If I take the gig, I’d better believe it in while I’m doing it.

Later on … well … that’s another story!

1 Comment

  1. That has been my biggest complaint about many horn parts – not so much that they’re completely uninteresting to play, but that they don’t add anything. I’d be curious to see how many – if any – people could tell the difference between two recordings of a standard Sousa march, one with and one without the horn section. If you didn’t tell them ahead of time what the difference was, that is.

    I have heard from people that “No, the composer put the part in there because she/he believed it was necessary to the piece” but I honestly have wondered if sometimes it was more like “Crap, these instruments are part of a standard score, so I’ve gotta write something for them even though I have no idea what to do with ‘em…”