Rehearsal for Opus 4 at Diablo Valley College -- a busy and fruitful one -- beginning with picking up Awesome violinist Laura and violist Chrisina Lesicko from Pleasant Hill Bart. As the distribution of music begins at 6:30pm, several people appear at the Ensemble Room door, and it is evident that the space has been double-booked, the others being the Concord Blue Devils, who assist in moving all Opus Project Orchestra stands and chairs into the Choral Room, since they have a monstrous assemblage of mallet percussion intended for the main rehearsal area. Fortunately, their brass is relocated to M127, so everyone has a place. Unfortunately, however, this puts behind music distribution, and we run a bit late re rehearsal slots all night, but nevertheless make impressive efforts, with our largest ensemble to date (1.5 0 1.5 1, 1 1 1 .5, Gtr 4Pf, 1 1 2 3 .5, although some will join us tomorrow) re Bela Bartok's Orchestral Suite No. 2: II. Dance, Igor Stravinsky's Fireworks: Introduction, Alban Berg's Altenberg Lieder: I (sans Kate Bautch, who will join us tomorrow), Paul Hindemith's Funny Sinfonietta: I. The Gallows-Brothers - Fugato: The Big Lalula, Dmitri Shostakovich's Two Fables of Krylov: I. The Dragonfly and the Ant (with Sarita Cannon), Mark Alburger's Poems on Crane: II. The Wayfarer (Sarita + Harriet March Page), Rachel Condry's Brass Quintet,
Anton Webern's Five Songs on Texts of Stephan George: II (Feona Jones solo for now) and Sergei Prokofiev's Four Pieces for Piano: IV. Suggestion Diabolique,
Arnold Schoenberg's Transfigured Night: Introduction, Benjamin Britten's Simple Symphony: II. Playful Pizzicato,
Michael Stubblefield's Overworld (only two -- Jen Adler Mathers and Melissa Smith -- out of four players, with scheduled absence and a surprise mixup). and Darius Milhaud's The Lost Sheep: Act I, Scene I, Pierre (Melissa et moi).
Since it's a "farewell" type rehearsal, there's no one left for return of chairs and stands, and it is quite a task, given the overfull Ensemble Room.
The day starts with composing the beginning of Enneads: III, dealing with score and parts re the Britten + print-out of Webern and Prokofiev music,
then heading down
produce bound scores of Bartok, Stravinsky, Berg, Alburger, etc. + plus setting up the room for rehearsal