Spent six hours recording with Daedalus Quartet on Tuesday, then 2.5 hours rehearsing with Emerson Quartet on Wednesday. Don’t know how I got to be so lucky.
The consensus at the recording session was that I’m not bipolar, because two poles aren’t enough to account for the stuff I write. Stymied again in my quest to start with an accurate diagnosis.
Rehearsal in David Finckel’s Upper West Side apartment the next morning was a delight, despite the construction — or musique concrète, as Eugene Drucker put it — outside the window. Two of the guys had just returned from their Grammy acceptance speech (1:57 of the way in), so they had another trophy to drop on a shelf that appeared to have about eight of them already.
I did a double chicken on the passage I had cut last Saturday, putting it back in. Am I sure it was the right decision? Of course I am. I think.
Some pieces of mine have pretty stable tempos; some have wheelbarrows full of metronome markings. My fifth quartet falls into the latter category. Happy to discover that only three of the tempo markings were off, and only one was completely horrible. My relationship with metronomes is very similar to my relationship with printers – can’t live without them, grateful they exist, and always on the brink of wishing them a speedy and eternal damnation.
In any case, the quartet was very gracious about focusing on aspects of the piece I could give feedback on, not that I would mind in the least listening to them work on the stuff I can’t help them with. What a blast to hear a new work gradually take shape with such a fantastic group.