A Letter from London (and Nielsen 4)

December 17, 2017 Yesterday I arrived in damp and blustery London, which, despite the gloom and ghastly weather is full of the irrepressible cheer of Christmastime. There is something about dusk descending at 4 p.m. – or even of being soaked by the spray of a passing double-decker bus whilst walking to a carol service – that makes the Yuletide spirit all the more real. I write just before the commencement of a rather brutal schedule of mulled-wine-soaked lunches and dinners with friends. It’s the one time of year when nearly everyone from this continent of my life is in the same place, which is something to treasure. It is, of course, a natural time to reflect on the year that is drawing to a

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Concert weeks are jam-packed!

When newcomers attend the Symphony they often ask me, “How many weeks ago did you start rehearsing for the concert?” The answer usually elicits a look of astonishment, especially if the performance is on a Thursday: “We started on Tuesday morning!” A Masterworks concert is preceded by four or five rehearsals, all within a single week. The musicians’ schedules are organized this way, as are those of guest conductors and soloists, who often stay in a city for a week before moving on to the next. This allows artist managers to schedule their clients’ engagements 18 months to two years in advance. The condensed timeframe assumes everyone arrives at the first rehearsal absolutely prepared, since there isn’t time to learn the notes in the way

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