Thread: Ahh...the Egmont

So the music director in our school wants the orchestra to play Beethoven's Egmont Overture, Op. 84.

Does anyone have anything to say about this?

Oh yeah...I'm concertmaster again. It was unintended. I kind of fell into that position.

Thanks.
I dunno what the music director is thinking but we've been screwing around with lots of small pieces lately so we haven't worked on very much Egmont.

I've found that if you leave them alone for a while they'll start doing their own thing, then you have to take 5 seconds to shut them up. (I'm working on how to say "shut up!" nicely.)

I try not to give orders most of the time. I don't have much more power than anyone else. For bowings I have many for-and-against votes, so that every first violinist has some say in everything. Anyone is also welcome to suggest something else.
I have to say that (in my opinon) it is MUCH better now than it was with the previous concertmaster. Funny thing though, she still has all the music so I can&#39;t get any practice. <_<

I think I pretty much have their respect. At least I think I do :unsure: .
No. 1 thing to earn respect is that you&#39;re NICE.
No. 2: Concertmaster, schmoncertmaster&#33; We&#39;re all musicians.

i&#39;m not familiar with the name, though i&#39;ve probably heard it before. i am downloading it right now since you&#39;ve mentioned this overture so many times.

It just came to mind first. From where did you download it?

So many overtures...

I'm going to give Hebrides/Fingal's Hole (Mendelssohn) a shot.

A bit tricky, don't you think?
...actually it's quite ok...if people would just give it a little PRACTICE...grrrr. <_<

LOL...ok I guess Hebrides is too much.

I don't care anyway.

Originally Posted by Harvey

No. 1 thing to earn respect is that you're NICE.
No. 2: Concertmaster, schmoncertmaster! We're all musicians.

I do not mean to sound too "professorial" or condescending, but that is so, so untrue and so off the mark. Harvey, if you are truly a good musician, which you most likely are, and want to continue into the professional world, you must quickly come to understand that the concertmaster is the orchestra. Plain and simple.

A strong concertmaster is defined first and foremost by his musical personality and his ability to lead not just the 1st violin section, but the whole orchestra. That is where his respect comes from.

Secondly, with regards to bowing etc., the concertmaster's word has to be quick, decisive and final, and that goes for decisions for every string instrument. Professional orchestras often put together concerts with pieces like Egmont or a Beethoven symphony on one or two rehearsals. There is nothing more tragic in rehearsal than one of those open ended bowing discussions. When an issue arises, the concertmaster must immediately stand up, show the way it will be bowed, and the rehearsal moves on. No discussion.

At times, the concertmaster must act as a second conductor. In Egmont, the transitional passage at the beginning of the Allegro is especially difficult for some conductors. If the concertmaster is sensing that the conductor simply cannot lead it properly, he must "take over" and lead the orchestra with the strength of his musical direction and whatever natural "conducting-like" body movements he is able to show.

Lastly, if you do enter into the professional world, be careful of how you view the concertmaster's role. If you go into a new orchestra expecting a democracy, you are in for a rough ride.