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Going to Delfina Studios, South London, for the final rehearsal before the performance. |
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THIRD MOVEMENT, page 25, from bar 72 to the end. |
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THIRD MOVEMENT, page 25, from bar 72 to the end. |
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THIRD MOVEMENT, page 33, bar 133 to end, also page 31 bar 114. Emily discussing changes and me sorting out best way to notate them. |
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THIRD MOVEMENT, page 33, bar 133 to end, also page 31 bar 114. Emily discussing changes and me sorting out best way to notate them. |
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FOURTH MOVEMENT from beginning on, page 34. |
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FOURTH MOVEMENT. Discussing whether we want to keep pizzicato in the quartet or change to arco. In rehearsal with Emily and me (at Trinity College of Music). I'd accompanied Emily on the piano (playing the quartet part) and held the pedal down which creates notes which melt and hang on into the next. |
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FOURTH MOVEMENT, from the opening played with bowed strings.
In the end we stuck to my original score notation of pizzicato. |
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Playing opening FOURTH MOVEMENT, pizzicato with the quality we'd discussed earlier. |
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FOURTH MOVEMENT, practising end of movement to sort out bowing issues, page 41. |
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FIFTH MOVEMENT, quartet individually practising harmonics passage (notes with circles above; a string effect which creates an ethereal sound) on page 45. |
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Opening of FIFTH MOVEMENT, page 42. |
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Everyone, including Emily, playing harmonics section page 45. |
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Andrew checking pitches of harmonics in FIFTH MOVEMENT. |
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Sorting out rhythm at end of FIFTH MOVEMENT, from page 51, bar 94. |
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