t to get technical). And this year, the folders are truly white, not that creamy ecru color we had for so many years. Not that there was anything wrong with it, but the true white really fits the whole Red, White, and Blue scheme much better.Just looking at the run-down sheet, I can tell this is going to be my favorite program for the first half of tour.
The solo (it’s more of a trio) is Escapades, the suite from the movie Catch Me If You Can. The first of our finger-snapping works on tonight’s program, it is fun to play, and even more fun to watch and listen to Steve and the two Glenns. I think the entire band has a good time with this piece - it will be a real crowd pleaser on this tour.Paul Lavender’s arrangement of the Symphonic Dances from West Side Story has been a hit every time we performed it this year. Since we cut and paste the flute and piccolo parts to work better for the section (okay, better for me), I can relax and enjoy the ride, finger snaps, “Mambos!” and all.
I always enjoy Vientos y Tangos, and once the ensemble is comfortable and can settle in to the tango mood, it will be very effective. I just wish I had a little more to play in my part.
A new vocal for Sara; Jonathan Elkus orchestrated the Ives’ Song Set Memories: Very Pleasant and Rather Sad. It’s a delightfully quirky set of songs, filled with snippets of familiar pieces we’ve played in another form. Looking at the faces around me, I could see it was receiving some mixed reviews, but I thoroughly enjoyed it. Elkus has a terrific way of exploiting unusual aspects of the piccolo that I appreciate.
I actually have a real-for-sure tacet this program – these are few and far between for me. There’s no piccolo part on Russlan and Ludmilla, which opens the concert, so possibly, for the first time in my career, I won’t be on stage for the Opener and National Anthem. I imagine I'll have some momentary panic with the first few "Onstage!" until I get used to the idea.
A new vocal for Sara; Jonathan Elkus orchestrated the Ives’ Song Set Memories: Very Pleasant and Rather Sad. It’s a delightfully quirky set of songs, filled with snippets of familiar pieces we’ve played in another form. Looking at the faces around me, I could see it was receiving some mixed reviews, but I thoroughly enjoyed it. Elkus has a terrific way of exploiting unusual aspects of the piccolo that I appreciate.
I actually have a real-for-sure tacet this program – these are few and far between for me. There’s no piccolo part on Russlan and Ludmilla, which opens the concert, so possibly, for the first time in my career, I won’t be on stage for the Opener and National Anthem. I imagine I'll have some momentary panic with the first few "Onstage!" until I get used to the idea.
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