Reduced sized orchestra

In these difficult times, when the outside world is going mad and everyone is so angry and intolerant of others opinions, I have been creating a library of popular pieces of music that can be played by a reduced sized orchestra so that promoters can promote with less risk and those that want to maintain social distancing can do so. The basic orchestration for most of these pieces is 1 flute, 1 oboe, 1 clarinet and 1 bassoon. 2 horns, 2 trumpets and 1 trombone with a timpanist, 2 percussion colleagues and a harp. Bringing up the body of the orchestra are the string players which can number from a few to many. This is the available repertoire Inglis Music Library. I think there's a broad cross-section of repertoire here. 

It was begun when in order to tour an orchestra with soloists or cross-over artists and make using an orchestra more viable, we had to reduce the size in order to reduce the costs. I started with a few pieces and as the concept grew, added more to the list and therefore choice. I was never interested in just dropping instruments and pretending they never existed; they did and should not be ignored. Therefore the wind and percussion sections were re-written so to the average person attending a concert, there would be no noticeable difference: it would still sound full and rich, and as close to the original as possible. For instance, generally speaking, you would not want to miss out the 3rd note of a chord in any passage; it would sound bare with just open 5ths. Quite often, the 2nd player of the woodwind section would fill these notes out. Leave out the players, you leave out the important notes. So I rearranged and and redistributed the notes. Now, no important notes are missed out, but the original spirit of the composer's intentions are maintained.

I believe in the idea so much that we are taking it to some smaller theatres where a full sized orchestra of 70 or 80 musicians would make no financial sense. However, one of 33(ish) most definitely does. 

If in Milton Keynes, Oxford and Richmond in March and April 2022, look out for us! 

Visiting a new orchestra

It has been a long time since I last posted anything on this site, so having been out to Thailand for a very fleeting visit (3 nights!), I thought I would write of what it is like to visit a new orchestra. I should add that my visit last week was not in fact brand new, as I had last conducted the Royal Bangkok Symphony Orchestra in March 2011 when minus its royal title. But though I remembered I had conducted them, I remembered nothing else of my visit apart from the fact I thought they had a reasonable standard. 

The orchestra and I were to support the mezzo Katherine Jenkins and as there was no other vocal support, we would need to provide some orchestral items during the performance for her to have a little break and change dresses. Remembering my previous visit, I thought I could challenge them with some well-loved popular pieces of classical music and chose: Shostakovich Festive Overture, Bernstein Candide Overture, Libertango, Traviata Prelude, Prelude to Carmen and Faust ballet music. I had been provided with four three-hour rehearsals plus a general and was asked whether I wanted more! I replied, absolutely not. It is easy to over-rehearse; one must always leave something for the performance. However, they decided to rehearse the orchestral items with a local conductor the day before I arrived. I'm glad they did. 

At my first rehearsal, a number of musicians remembered me from my previous visit and I was not sure whether that was a good thing or not. Did they remember me because I was inspiring, or because I was rubbish? I have to say I could not remember any of them.......it was 12 years previously and I had conducted many orchestras since! 

However, we started and by the break, my first impression was that I was pleased I had 4 rehearsals prior to Katherine joining us. Katherine's rep is technically not challenging to play, but it has a style all of its own and the tuning is very important. Sometimes, a song will start on a high note in the violins and it is vital that is prepared carefully before the downbeat. At other times, the sound created by arrangers such as David Foster, Stephen Baker and Patrick Hamilton requires a delicacy of touch rather than a fortissimo of attack! So I devoted two rehearsals to Katherine's rep and the other two to the six orchestral items, all of which have their technical challenges. 

With a great deal of hard work and yes, humour, we broke down the compositions into their various sections, playing them slowly and quietly before gradually picking up the pace and dynamic until we were at tempo and could play them. I believe music should be taken very seriously, but that doesn't mean we can't have fun and enjoy it! One of the comments often made to me is, how much fun my rehearsals are. I believe laughter is good for the soul, just as I believe music is good for the soul. So when you combine the two, well, you've reached nirvana! 

The resultant concert in the Cultural Hall attracted a standing ovation for Katherine and the musicians of the orchestra who had played unbelievably well. Both Katherine and I received plaudits for the orchestra, with lots saying they had never heard the orchestra play so well. This was as a direct result of the star performer, who elevates everyone around her to give of their best, and the hard work done by us at the rehearsals. 

Well done RBSO. I hope it is not another 11 years before I see you again!