We are so excited that the fundraising campaign is now at 91%, so we are close to goal, and we hope to exceed goal as the costs of this recording are considerably higher than our goal of $6000. Also, by exceeding goal we will be able to donate some funds to the Youth Orchestra of the Rockies. Markus worked with the YOR students in January, and in April the YOR is performing Markus’ “Mariola” orchestrated for full orchestra by myself.
More exciting news: Guitarist/composer extraordinaire David Torn has agreed to overdub solo guitar parts Markus has envisioned on one version of the TM513 orchestral recording! So our international collaboration continues to grow!
Markus, Tobias, and our videographer Jack Casadone have all purchased tickets to fly to Denver, and Nikki and I are preparing the house for our guests!
Also just saw Bev Vriesenga of Moodstruck catering, and we discussed menu of our Composers Circle Dinner up on Lookout Mountain overlooking Denver. Bev is all charged up about this event, so you might want to make the pledge and be part of a wonderful evening.
We have included a short MP3 from our orchestral reading rehearsal of Markus and I discussing TM513 and the challenges for the performers. I am adding a few words here about the unique challenges of TM513.
As most of you know, Markus and I call Todmorden 513 a “Concerto for Orchestra”. While this term has been used by some 20th Century composers (most notably Bela Bartok), TM513 really IS a Concerto for Orchestra. There are 50 unique parts or musical lines, one per musician with very little duplication. Each of these parts are solo parts, and demand absolute precision and discipline on the part of each individual performer. At the same time, each part/performer is a part of either a trio or quartet, demanding sensitive chamber playing from the musicians. Finally, each individual musician and trio or quartet are part of the large orchestra that is created by combining the smaller groups together. Markus and I chose not to put ANY dynamic markings in the score, so the final demand on the orchestra musicians is that they balance themselves, so a tuba or trumpet player must be aware not to overpower a single violin playing their individual part.
By the second half of our reading rehearsal when we tried to do a straight read through from beginning to end of TM513 the musicians started to understand the kind of zen focus and concentration performing their individual parts and being a part of the greater whole demands, and by the final 20 minutes of rehearsal, it started to feel like the orchestra was levitating. I could tell by how my arm felt as I directed the orchestra. At first it felt like I was moving the baton through wet cement, gradually the cement turned to mashed potatoes, and by the final movements, my arm felt lighter than air. It was a marvelous transformation for all of us!
The reading rehearsal of TM513 has returned me to my roots, and in the weeks since the rehearsal I have been re-visiting all kinds of music, much of it very challenging to listen to (ie Captain Beefheart and the Magic Band: Lick My Decals Off Baby – a really weird and wonderful recording, also various avante garde classical music, like Ligeti). TM513 has demanded that I re-dedicate myself to the cause of new music. And so should we all, thank you again for pledging, please encourage your friends to join the cause!