Author: helenahildur

Orchestra rehearsal IV

art, recent work

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timpanist with his instruments; graphite pencil on paper, c. 21 x 15 cms

I was mistaken; I have to re-formulate. This polarity is not about time-and-space matters, the way dancers do it. It’s more like the visible world calling for the invisible. Material bodies of instruments and human beings, interacting to shape the immaterial/imaginary space of music.

Thanks to the orchestra and its various directors for sharing their working process with me.

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cellist with her instrument; graphite pencil on paper, c. 21 x 15 cms

orchestra rehearsal II

art, recent work

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four drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms

Yes, this is very different from drawing (for instance) dancers. While moving art performers interprete a temporal impulse into spatial, thus visible, reality, the orchestra’s performance establishes more of a polarity; the aim of the effort stays the audible field, and yet there is a great deal of ‘bodyness’: gleams of varnish on the violins; the instrumentalist’s physical concentration and coordination of movements in playing; the almost architectural issue of supporting and supported parts when the cello player brings her instrument in a ready-to-start position. And the conductor’s oral instructions helping to bridge the gap… like “trust the fact of getting there softly”… I’ll keep that one.

journey to Stockholm

time-out

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Stockholm underground Aspudden – T-Centralen

Again, this time-and-space issue. I’m going to the Stockholm Concert Hall, to attend a rehearsal. Before, I have been working with dancers and eurythmists; making drawings from performances as well as cooperating in workshops. While sitting on the train, I recall the work we did at the Steiner seminar in January.

(see Archives: space and time drawings I – III)

Trying to catch sight of what’s going on in an orchestra at work – that will be something different, though.