Glenn is taking a break from the Circle this weekend to keep up with work.
Alex and Chris arrive at the space around 5:30. We are supposed to be downstairs this week, but there are is a conference going on there . . . Chris makes a call to Brad, who confirms the situation and asks us to hang tight. As the meeting lets out around 6:00, there is a salsa class also needing to use the same room for the next hour - apparently, the men's group upstairs is not on the house manager's schedule, creating a conflict. Fortunately, the salsa class graciously relocates to an adjacent art room, and we are able to begin setting up.
On the bright side, Rick has repaired the fried tweeter in one of the PA speakers over the week and we are back in business, mix-wise.
Otherwise, a straightforward set-up and sound. We spend a few moments looking at what repertoire is available without Glenn, including (of all things) Morning Has Broken. This arrangement of Cat Steven's arrangement of a Christian adaptation of an old Gaelic tune has not been heard for a few weeks and is given a go, sounding surprisingly good, up to a point.
There is a bit of an extended wait in the green room before showtime, as the men's group is going into overtime with meditations and lectures on Buddhism. We fracture into small groups for further warming up on various pieces. Chris and Brad consolidate their understanding of Bartok's Hommage a JSB and land it one or two times. Victor has an idea: imagine that the men's group has had an uplifting experience. What music do they hear first coming down the stairs? This is our keynote for the evening.
We go on about 8:05. Our tendency is improvisational: no set list, something thrown in entirely on the spot, an idea tried and followed at our own risk. We are getting better at this. Pantonal circulations flow in and out of fluttering, effervescent embroideries. There is an improv moment between Rick, Chris and . . . Dev? with the rest of the group taking their own part when ready. A circulated coda concludes the performance after Austurias. At a certain point (there is later general agreement), this performance seemed to take on a higher level of intensity.
After the show, we listen back to the recording we made of it (a good approach to take in our own personal practices). A distinction comes up between the quality of practicing performing and performing, and some critical discussion follows. The time feel of our circulations and some repertoire also comes up, which is obliquely a part of the former question. On the practical side of things is talk of life after the performance series and an upcoming gig opportunity.
Tear down, and we're out by 11:00.
No comments:
Post a Comment