32: Pre-Rehearsals (2)

During the composition of Lightfall Robert Johnson and I met just a few times mostly so he could start to familiarise himself with the material. But since the concerto was finished we have been meeting at my home more and more frequently until now we are rehearsing for two hours, two or three times a week.

Christopher Gordon (L) & Robert Johnson

At first we would run through the concerto with the synths and click. Gradually as he became more familiar with the work the click was dropped and now we only refer to it from time to time in difficult passages.

Lightfall is deceptively difficult for the soloist because the horn part (not to mention the other instruments) is often offset across the barlines so that what you see on the page is not what you feel in the room. Consequently Robert has been pencilling in landmarks on his part – trombones enter here, harp low note there, harmonic change here – so that he can constantly check that he is exactly in time.

Sometimes this is not easy, like Part Two b67-85 where, despite the flurry of notes, there is nothing that stands out as a clear landmark, particularly on the murky synths. His theory is that if he can conquer it in these difficult conditions then it will be easier on the day with a conductor and responsive orchestra.

The first note of Part Two is very exposed and fairly high and so is not reliable to pull out of thin air, particularly after the screaming coda of Part One. To prepare for it Rob plays the concert C spontaneously through the day, softly and concentrating on purity of tone.