Orchestral haiku

In June, 2012, my husband and I moved from Portland, OR to Albuquerque NM.  Our marriage was in trouble, and so were our finances.  The two facts were not coincidental. ABQ was our fresh start. In September 2012, I joined the Albuquerque Philharmonic Orchestra.  Within two months, I had left my husband.  During the next few years, the orchestra probably saved my sanity.  It gave me a community and a focus, both of which I desperately missed and needed. 

I've played in orchestras since I was in fourth grade, in semi-professional ones since I was 16.  In the latter, I've always been the worst player in the group, hiding in the back of the 2nd violin section, usually in front of the timpani or french horns, all of which serves as concealment.  I am lazy about practising and I lack confidence, but I am a pretty decent sight-reader.  And, while I feel guilty about my errors fuzzing the sound and dragging down the quality of the group, I care more about my own needs.  I love playing in an orchestra, surrounded by the music.  There's something deeply satisfying about the rehearsal process, learning how the other parts fit with mine, watching the conductor, watching the first stand for bowings.  I am part of a wonderful whole; I am part of the growth and unfolding of musical moments.  When I open the case and rosin the bow, and then find my chair and set out the music, I feel the comfort of a routine that cradles me, comfortable and right and mine. I am home.

A large part of the experience is determined by the conductor, naturally. Conductors vary in temperament and ability, but they are always interesting in some way.  One conducted rehearsals in snippets, and we didn't play the entire piece until the dress rehearsal. He  used to slick back his hair with water, and by the end of the concert, it would have dried into a frenzied mop like Beethoven's.  Another would say "Uff da!" when we messed up, delighting my Norwegian soul. Some would tell interesting anecdotes, and most would sing, scatwise, to emphasize a point about sound.  In Norway, the conductor began speaking English for my benefit, but soon he was back to Norwegian, telling long stories which my stand partner did not  bother to translate. 

In Albuquerque, I discovered two unique aspects to our conductor.  First, as a professional violinist, he could tell us how to produce the sound he wanted.  It reminded me of the teacher (who had also taught my Mom), who could describe the physical aspects to bowing and vibrato in a way that I could easily translate to my own motions.  It's a joy to work with someone who can succinctly explain the mechanics as well as the interpretation and emotion.  In May, 2013, I sent the APO conductor a link, alluding to his dual nature:

 "I saw this in a new book (pg. 42 in Sorted Books by Nina Katchadourian) and thought of you. 

(I'm the APO 2nd violinist who always comes flying in late and who works in a library.) "

The second unique thing about the APO conductor was allied to the first: his manner of giving directions was bright, snappy, funny and....haiku.

A revelation:
Our conductor communicates
In haiku format.

For years I've used haiku for my Facebook posts.  The idea was to take my mundane day and transform it into poetry.  At the very least, I would keep it brief.  Orchestra  rehearsals had already received the haiku treatment, but now I began to jot down the conductor's actual words, and then form them into haiku.  Today I have gathered up the observations from 2012-6, and I am posting them here.

About rehearsing, performing, and listening:
Sept 11, 2012:  and so it begins
I so much prefer
To just play, sans audition.
But, I'm in. Feels good.

Dec 2012
Waiting for the cue,
Listening to the solo,
I watch his baton.

At New Mexico Philharmonic Orchestra concert
Luscious, sweet, intense:
Mendelssohn played by the great
Rachel Barton Pine.

Once upon a time
Rehearsal breaks were a bond,
Bit mow we just text.

Recently saw a
Muted tuba. Awesome, but
Somewhat phallic, no?

The sweet notes trilled while
Melody soared and tears dropped:
The lark ascended.

March 2013
The engineer eyes
The violin fingering:
"It's inefficient."

That feeling you get
When you're performing music
You don't recognize.

We're playing a piece
Commissioned by "Q"'s father
(Cue Star Trek geeks' gasps.)

All dressed up at home.
Concert went well and I'm wired.
Firebird will do that.
 
August 23 2013
All I did was think
About skipping rehearsal.
Now i have a flat.

He plays the Barber
1. Precise yet fluid,
The music made visible.
Our guest conductor.
2.  Eyes closed, eyebrows raised
(The notes go by like the wind)
He's a vehicle.
3. Albuquerque folk
Please! You owe it to your selves
Come listen to this

On an evening spent with Bruckner...
1. After three hours of
Tremolo, my arm feels like
Overcooked pasta.
2. My stand partner wrote
"Terror!" at the beginning
Of the last movement.
3. At least there's only
One key per movement. But it's
Three flats. Sometimes five.

Observations....w/ Santa Fe Orchestra Chorus, Spring 2014
1. Before going out
To start the concert rolling,
He checks his zipper.

2. The French Horns emptied
Spit in perfect unison
And played the next bit.
3. Enthusiastic
Singing makes the risers bounce.
I'm told they will hold.

Sept 13, 2016
The same note repeated...
I get lost. Where are we now?
Yes, it does matter.

At dress rehearsal,
At last, NAILED the saltandos!
Cue triumphant grin.

She said, he is like
A border collie. We're sheep.
He was not amused. 

We walk in out groups.
The students are skateboarding
On the parking ramps.

I love to listen
To the Gorecki III, but
It's deadly to play.

She sings in Polish
But it needs no translation.
Somebody must cry.

Sept 27, 2016
On rehearsal break;
Checking posts and rejoicing:
I'm missing debates.
#notthatidwatchthemanyway

 Oct 2016
I just have one job
As second chair: turn pages.
Tonight I blew it.
**************************************************************
Oct 4, 2016, my confession
For four years, I say,
I've quoted you in haiku.
He is quite amused.A conductor's words

"Listen to the brass--
They will not be hearing you.
I must follow them."

He adds, "That's the best
Deceptive cadence EVER!"
Now I like Bruckner.

On an evening spent with Bruckner...

"There are not many
Rhythms in this piece. We can
Really learn them." Right.

Humane conducting:
"Strings, adapt....they need to breathe."
Sounds reasonable.


Play pizzicato
With joy. (If you can, he adds.)
We nod agreement.

Haiku for the APO spring concert
(Rachmaninoff, Rhapsody on a Theme by Paganini)
We play the 18th
Variation. He recalls
An awful movie.

(Bruckner 8, trio of Satz Scherzo.)
The trio's a search
For a lost dream melody.
He never finds it.

He says, I don't want
To conduct. But I'll be here
If you need me. (Thanks.)

This concert's riddled
With transitions and also
With dotted rhythms.

He says, I won't stop
Unless I have to. Promise!
We stop seven times.

Thoughts on Schumann...
He was bipolar.
"And we need to reflect that."
Time to be manic.

"A sigh has two sides."
Crescendo is easy. Now
Diminuendo.

In the SFP,
P is the important one.
(But it's not as fun.)

Rehearsing the Barber
1,  It's a jig, he says
Let's try it at full tempo
And see what happens

2. A haiku to understatement.....
"It's going to be
An adrenalin rush if
We don't know it cold."

3. (Rehearsed the Barber
Third movement at half tempo.
It is still scary.)
 4. Ferocious triplets:
"See, it's what the people want."
If they only knew.

 We play the trio...
"It's a mid afternoon sound."
Um, that's naptime, right?

He tells us we should
Glue those eighth notes together.
It puts me to sleep

He says, "it's sul G,
All the way. It's not that high..."
Glad I don't play first.
A friend's response:  I pictured myself at the symphony, and all of the violinists were in g strings. Quite a sight!

Post-rehearsal....
A mild suggestion
To the strings: "Play together.
It'll be more fun."

I am quite puzzled
When I read "aargh" for "arco."
I need new glasses.

Notes from rehearsal...
1. Re: Dvorak
The maestro thinks its
Much more interesting when
We play together.

 2. Re: Adams
He places each note
Precisely where he wants it.
It's an adventure.
 3. Los peregrinos
Sing loudly nearby as we
Try to rehearse Grieg.
#interesting.blends

On the Brahms violin concerto in D...
This start is gorgeous.
By the time the soloist
Comes in.....who will care?

On playing Ives.....
1. He says, "You can strive
For rhythmic accuracy,
But..." and we all laugh.

2. Shadow notes can be
Left out. When he puts it in,
It's not optional.
3. When it's chaotic,
It is intentional, so
Don't try to listen.
4. You look so gloomy!
You're taking this melody
Seriously? Hmmmm.

Breathe, breathe, BREATHE, he said.
Breathe every two measures.
I breathe all the time.

You're rushing the eighths,
He said: no coffee for six
Hours before we play.

"It should be between 147 and 152. Yes, shoot for 152 in practice. It's easier. Except for the triplets."
A violinist
Conductor is NORMALLY
A very good thing.

To produce a continuous tone:
Try with half bowing
The opposite direction.
(It's disconcerting.)

He gives up nuance...
"Okay, I have to say it:
Just make it shorter."
 
 It looks so hard, yet
"It's not as important as
You might think," he says.

"Play it like clockwork:
There'll be time enough later
To get all Stretchy."
#ravel #maingauche

"Oh I remember:
You just flew in from England....
That shouldn't matter."
#torturingthesoloist

"Is it 2 or 4?
Does anyone really care?"
Not I: it's one note.
 
He says it's best when
We're controlling the bow. "Don't
Let it control you."
#yesitsobvious