Kenneth Woods tells a moving story about a violinist who’s not going to make it to the concert because she’s expected to die of cancer before then, but she struggles to come to the rehearsal.Suddenly, drilling this program to the highest possible level didn’t seem like such an important goal. What could I… what could we give her in this rehearsal- would she enjoy playing through big chunks of things, or exploring a few interesting corners in the music in a bit of detail? Could I help work the band up to a good tingly-sensation moment? Should we just keep everything low-key?
This is about a violinist, but it could easily enough be a soprano.
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