So what does that mean? It means Laurel doesn't get a break. Laurel spends hours at a piano hashing and re-hashing parts she learned long ago to make sure that the lines are correct, listens to the metronome for hours on end, and sings those bloomin' melody lines in her head until her brain explodes. Laurel also talks in third person when she's feeling a bit overwhelmed.
In the spirit of making myself feel like I've accomplished something in these hours of practicing today, I thought I would catalog the rep I'm learning. Without further ado,
Here's what Laurel has been cramming into her brain:
with alto sax:J.S. Bach - 2.Sicilienne and Allegro (adapted from Flute Sonata No. 2)
Paul Creston - Sonata for alto saxophone and piano, Op. 19
1. With vigor
2. With tranquility
3. With gaiety
Bernhard Heiden - Sonata for alto saxophone and piano (1937)
III. Adagio, Presto
with trombone:Paul Hindemith - Trombone Sonata (1941)
IV. Allegro moderato maestoso
Arthur Pryor - Starlight (1937)
Benedetto Marcello - Sonata (adapted)
Nicolai Rimsky-Korsakov - Concerto for Trombone and Piano (orig. for tbn and military band)
I. Allegro vivace
II. Andante cantabile
with euphonium:Ralph Vaughan-Williams - Six Studies in English Folksong
Joseph Horovitz - Euphonium Concerto
III. Con moto
Bruce Fraser - Euphonium Fantasy
Benedetto Marcello - Sonata in G minor (adapted from cello and continuo)
with flute:Franz Schubert - Introduction und Variationen, Op. 160
Samuel Barber - Canzone (adapt. from 2nd mvmt of piano concerto, Op. 38)
J. S. Bach - Sonata No. 2 in Eflat Major for flute and harpsichord, BWV 1031
with soprano:Donizetti: Tre Ariette
I. La lontananza
II. Amore e morte
III. Amore marinaro
Mozart, from The Marriage of Figaro: "Crudel! perche finora"
from Cosi fan Tutte: "Una donna a quindici anni"
Bizet, from Carmen: "Je dis que rien ne m'epouvante"
J. S. Bach, from St. John Passion: "Ich folge dir gleichfalls" with flute
Gian Carlo Menotti, from The Consul: "To this we've come"
Hahn: Fetes Galantes
Si mes vers avaient des ailes
Herbert and Smith, from The Enchantress: "Art is Calling for Me"
Florence B. Price: "Feet o'Jesus"
"Trouble Done Come my Way"
with baritone:Engelbert Humperdinck, from Hansel und Gretel: "Ach, wir armen Leute"
Handel, from Messiah: "The trumpet shall sound"
J. S. Bach, from Mass in b minor: "Et in Spiritum sanctum"
Gilbert and Sullivan, from The Pirates of Penzance: "I am a Pirate King"
Frederick Keel: Three Salt-water Ballads
I. Port of Many Ships
II. Trade Winds
III. Mother Carey
Giacomo Puccini, from La Boheme: "Vecchia zimarra, senti"
Mozart, from Cosi fan Tutte: "Non siate ritrosi"
Rogers and Hammerstein, from Oklahoma!: "Lonely Room"
Sondheim, from Sweeney Todd: "Epiphany"
Wildhorn and Bricusse, from Jekyll & Hyde: "The Confrontation"
with tenor:Donizetti, from L'Elisir d'amore: "Una furtiva lagrima"
Mozart, from Cosi fan tutte: "Un'aura amorosa"
Puccini, from La Boheme: "Che gelida manina"
Sondheim, from Sweeney Todd: "Johanna"
from Company: "Being Alive"
from Putting it Together: "Pretty Women"
Strauss: Zueignung, Op. 10, No. 1
Schumann: Widmung, Op. 25
Du bist wie eine Blume
Faure: Clair de lune, Op. 46, No. 32
Lydia, Op. 4, No. 2
Aurore, Op. 39, No. 1
280 minutes of music, my friends. Two hundred and eighty.I guess I should have warned you that I would list each movement of every piece. I didn't because I was hoping you'd be impressed with the sheer size of this list.
For some, this rep list may be manageable, but for me it's right on the edge of what I can handle doing. Some of the vocal pieces I can sight-read, but that doesn't mean I shouldn't practice them. It's certainly a good challenge, to try to learn this many notes, but a frustrating one as it leaves very little room for me to practice my own music. I look at the marimba longingly and can't wait til May when I get to really play her again.