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I heard the CSO do a concert version of Act III of Parsifal on Friday evening. Gene Pokorny had two stands, on one of which he put what looked like the score. With people sitting up behind him, I assume it wasn't a Batman comic book. I also assume, although on this one I admit I'm more apt to be wrong, that his purpose was not to study the score as it was played. He followed the score during his lengthy and irregular downtime, and I have to figure it was a technique to avoid getting lost. His playing, as usual, put him out of the league of "normal persons", but it was good to see his humanity confirmed in a concern over keeping track of Parsifal without a crutch.

Chris Horsch wrote: but it was good to see his humanity confirmed in a concern over keeping track of Parsifal without a crutch.

I'd bet he was just digging the sublime writing.

I remember playing the Katchaturian Violin Concerto some years ago. The parts were by Kalmus ('nuff said!).

The tuba part was written in such a way, that the tuba played at the beginning, and then not again, until letter "T" (or, some letter like that).

Well, instead of the usual notation of rests after the first passages were done, the part simply had, written out in English: "Tacet until letter T", with absolutely NO indication of how long a period of time, that might be!

I ended up bringing a miniature score on stage with me, so I could figure it out!

Z-Tuba Dude wrote:I remember playing the Katchaturian Violin Concerto some years ago...instead of the usual notation of rests after the first passages were done, the part simply had, written out in English: "Tacet until letter T", with absolutely NO indication of how long a period of time, that might be!
I ended up bringing a condensed score on stage with me, so I could figure it out!

Carol Jantsch came up with a different solution for that piece...

There is no better way to learn a piece. Forget recordings of any type, you're getting paid to sit in one of the best seats in the hall. A good way to enjoy it is to actually see the music as you hear it going by; just like reading a script to make sure that you don't miss any part.

So, do you guys like 'bug and elephant rent the scores or buy them?

MartyNeilan wrote:So, do you guys like 'bug and elephant rent the scores or buy them?

All of the above including borrow. If it's something you'll need to study, and have reasonable access to, buy.

If it's tough to get, it's one more reason to make good friends with the librarian and be liberal with the refreshments. Sometimes you can use one the Maestro already has. Sometimes you can get one quite reasonably since the orchestra is already renting the set.

Sometimes I could get one from the University since my significant flute playing other is not only much better looking, but also a University prof.

the elephant wrote:The best (IMHO) are the Boosey miniature study scores. They are of excellent quality. But what most have in such cases are full sized cheapo scores printed by Dover. Dover likes to talk up how wonderful they are and that most of their scores are reprints of famous editions, et cetera.

However, things get messed up from time to time when they see things in the edition that need "fixing." . . . Example: Dover edition of Fantastique has one of the biggest screw-ups I have personally seen. The 4th movement (the March) has the 3rd bone and 1st tuba parts switched for the entire movement.

Thanks for the heads up on this!!!

I saw Gene play Tannhauser a few years ago. He had the score on a stand next to his, like you've mentioned. I'm sure he was trying to stay sane and awake, but at the same time it looked like he was singing along at times.

Playing with a score next to you can be a real advantage. Score study is always very important when playing in an orchestra, especially on very few rehearsals. (As already mentioned)