Klarinet Archive - Posting 000065.txt from 1996/09

From: Jacqueline Eastwood <eastwooj@-----.EDU>
Subj: Berlioz Symphonie Fantastique
Date: Wed, 11 Sep 1996 12:55:35 -0400

OK, you guys, I have need of your vast experiences here!

It is highly possible that I will be asked to play the Eb part on the
Berlioz for the next University Orchestra concert. There are a couple of
problems with this -- let me explain. First of all, I am no longer a
student here -- I'm DMA ABD, which means I have to write this big huge
long paper and then I'm done. I am, however, a staff member in the
School of Music, Accounting Specialist, to be exact. I also work
full-time, which means taking time off for rehearsals.

I was principal in the University Orchestra for roughly 5 years, give or
take the odd concert where someone rotated in. We did Symphonie
Fantastique probably 4 years ago. It was the first Eb solo I played in
an orchestral setting. I clearly remember the bassoons dragging the hell
out of their part while I'm trying to trill the way I had practiced it!

My main concern is that I don't want to sit for an hour and then have to
play a cold horn with no warming up and a very sharp student orchestra.
I really need some concrete stories of how this is usually handled in
"the real world".

When I played it before, I played both principal and
Eb, which worked perfectly since that's how the part is printed-- both in
the same part for one player. The second player simply stays on the second
part throughout. Of course, when negotiating this deal, I can't really
just come out and say, "Oh yes, but I have to play principal as well".
I've had my turn and there are other graduate students here now -- just
not any who play Eb. What about going with the second part until the
fifth movement? Is that ever done?

BTW, I'm probably not getting paid for this. It's really difficult to
pay employees for performing via the University system. I'd be doing
this out of the goodness of my heart. (Yeah, right -- Dan P. knows, I'm a
typical hotshot Eb player, living for the thrill!)

If any of you have any advice, suggestions, or stories to share, please
respond. I don't really know when I will be approached about this, but
the first concert is September 30, I believe, and the conductor will want
to have everything set to go by then. (If this helps, he's new this year
and only knows of my playing by reputation -- I think.)

Thanks in advance,

Jacqueline