Transcription
Just disappear a little faster. I wish that the more grand and more, you know, uh, dignified one of those 101 or 101. The Orpheus model is never boring.
The idea of Orpheus is that we take symphonic repertoire, play it with chamber music techniques. And what that means is basically that the musicians take over the role of a conductor. Each one of us is as responsible as a conductor for having an interpretation, knowing the score, and being able to discuss those ideas with your colleagues. That's something that's very unusual in an orchestra setting.
While it's very exciting, it's also a real challenge to come out with a conclusion and a plan for execution. There needs to be a clear chain of command. You've got to have defined roles, um, and you really need to create a group consciousness. It starts out with just the core of players who are the principal players for that particular piece, which is different for every piece. Um, and once that gets developed within the chamber music group, the small group, it's then transferred to the large group. And that's one of the most difficult moments is to take the small group's concepts and see how it's going to work with the bigger [Music] group.
And the group as a whole may sometimes reject some of their ideas, argue, question, uh, deepen. And so, uh, every member on in in the rehearsal process and on stage absolutely has a say.
I'd like to tell the story of when I first played with Orpheus. The very first time, I was very young then, and I'm standing in the doorway, very shyly, because, as I say, I didn't know anybody. And I see people are laughing, they're telling jokes to each other, people are playing licks for each other, playing things on the violin, just chaos everywhere. And I found that absolutely amazing that we can start from from nothing and end up with something that people really want to hear and that we all enjoy so [Music] much. I know heed.