As I mentioned yesterday, Yellow Barn strives to create “an environment conducive to undistracted study.” Let’s see how they do in a back-to-back comparison with New York City:
Holy Smokes it’s gorgeous here:
Paul and I drove up separately, and each realized that we did not bring any sort of recording device with us. Immediately upon our arrival, however, Anna presented us with a Zoom to use! That was the first sign that this is going to be an awesome residency.
The next sign that this was going to be an awesome residency was the Pods–the music practice buildings where we are to rehearse. It’s as if someone said, “Now what would you like in a practice space? Abundant light? A beautiful view? Solar power? Climate control? Check and check.” Here’s a me practicing there the first night:
Here’s the same view, in daylight:
At Yellow Barn, they strive to create an “atmosphere conducive to undistracted study,” and there will be more about that in future posts. Today, we practiced and rehearsed a full 10 and a half hours. That’s more than 10, in case you were wondering.
If you’re in the area, please come to our concert on Monday!
Introducing a new video series, a satirical look at music: Notes “on” Performance.
Here’s our first installment, filmed before our recent concert at the Hopper House:
Here’s a picture of me, writing this entry on the Megabus (I LOVE Megabus), on my way to DC tonight.
PJ and I are meeting with the awesome Gary Race tomorrow, to start working on a program that will eventually become an in-school performance workshop for elementary schools, under the auspices of the National Symphony Orchestra (NSO).
We know Gary through Tales & Scales (how we know each other, btw). Gary directed several Tales & Scales shows, including The Arabian Nights, The Odyssey, The Little Dragon, and for those of you old enough to remember it, The Enchanted Horn. He also is a consultant for the NSO, and helps prepare all of their outreach performances. Oh, and he’s also an opera director and vocal coach. He’s amazing at what he does, so we’re very excited to get to work with him again in this new context.
We know the NSO, or rather, they know us, because PJ was one of the stars of the DC youth orchestra scene, and won, in both 1996 and 1998, their Young Artist Concerto Competition (high school and college divisions, baby).
Our program is going to focus on dance in music, including a tango, a waltz, two menuets, and Soulja Boy Tell’em’s Crank That. The idea being that, in their times and places, the menuet, waltz and tango were as popular as Soulja Boy.