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seaux - i thought i was going to get out of that meeting and be able to run directly to my computer and tell all of you what will be included on my masters recital... but i can't. and it's all my fault. we have the entire thing planned - EXCEPT - i have to decide between two pieces.... and all of you are going to help me.... i hope
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1. You already have some great experience with the Maslanka, though not from this perspective. If you have not much experience either way with the Daugherty, then programming it would broaden your knowledge base of great repertoire.
2. I assume you are making a recording that will be a large exhibition of your work as a conductor. So, what do you already have that showcases your skills/talents? That being said, does either of these pieces fill a "hole" you might have better?
3. You also have to think of the ensemble's ability. Although you are using the school's top ensemble, programming the Maslanka is a long endurance trial as you already know. Not to mention, that would make it 88 full performance minutes. Do they have the stamina and focus to give you a quality recording that you would want to pop in a job interviews? As you know, the performance level of the ensemble will have a big reflection on you no matter what. I just had a LARGE discussion about that with a teacher here. In order to win quality jobs, you gotta produce quality recordings.
I probaly just complicated the issue even more or just anally walked through a few more concerns that you already had. But, I think that no matter what, you will have a great concert.
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does this fill a hole? yes. the most important of which is an aesthetic hole... i have no real emotional attachment to any of the other pieces - nor can you, really. Drednought is a groovy piece that constantly goes between 3/4 and 11/16 and is quite minimalistic. Four Scottish is nice, but i dont think anyone's heart bleeds for it. Sweelinck Variations is a very nice piece and well written - probably one of the best transcriptions for band from that time period, but again... nothing to cling onto. what TD likes most about the maslanka is the fullfilment it would give to me... it's a piece that i can, and have, latched onto.
taxation on the players? no. this would be the only piece i would do with the 2nd wind ensemble at UWM. Drednought and Four Scottish are with the youth group and Sweelinck is with the Wind Ensemble.
quality recording? i think it would be. one thing that kinda made me apprehensive was listening to the only recording TD had of it - Illinois State University. OUCH! it was absolutely HEINOUS. saxophones from hell... and i told him "i dont want to do it if you don't believe we will do an amazing job on it. i don't want it to sound like that." he assured me it would not.
thanks Tony!
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