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Rodrigo is back! And this time he has to manage a household with dozens of kids, as Hailey has morphed into an uncontrollable birthing machine\u2026no wait, it was a dream!
\nAs the lovable series about classical musicians arguing, doing drugs and having lots of sex starts its 4th season, the writers are clearly on the look for new and crazy ideas to keep Rodrigo busy (he\u2019s a social worker! he\u2019s a waiter! he\u2019s a philosopher!), Pembridge in the picture (he teaches Hailey! he humps Gloria! he\u2019s a pop star!) and Hailey as lovable as possible (she\u2019s a talented conductor! she teaches tweeting kids! she visits her parents!).
\nOf course this also means that a lot of stuff is going on that would never happen in real life classical music world. Or would it? Let\u2019s find out\u2026<\/p><\/blockquote>\n\n
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Everybody complains about the \u201cbad\u201d viola playing of Shawn, but as is usual in TV world his playing was recorded by a professional musician in good acoustics who does not even remotely pretend to play badly…<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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One could probably insert a viola joke here, but really, firing a viola player who actually does practice hard (as can be seen) from a position in a chamber orchestra seems weird. Is Hailey really that critical of the viola part in her repertoire in particular, that she has to resort to drastic measures like this? Give the guy a break!<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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3:30<\/a> Bruce Davison\u2018s mad composer is funny, but hey, you can\u2018t write a score on paper towels and flower paper, an orchestra piece needs more space to write it on! Or perhaps the piece is more like a \u201econceptual\u201c piece, and the guy is some kind of John Cage character.<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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3:40<\/a> I don\u2018t know if the screenwriters<\/span>\u00a0are aware that their actually IS a piece called \u201eAsyla\u201c, composed by a completely mad Thomas Ad\u00e8s on paper towels probably.<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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And by the way: no normal orchestra plans a premiere by a composer like this: \u201eWe\u2018ll premiere it next month\u201c might sound funny, but it is simply not realistic: rehearsal schedules are actually made months, if not years in advance, and this piece does not even have orchestral parts yet (somebody would have to copy the music for each instrument from the paper towels, and that is actually a lot of work that still takes weeks).<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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5:07<\/a> Winslow might hear the \u201echest hairs\u201c now, but his playing of Grieg is simply wrong. That piano entry has a tempo and cannot be played that slow, because the composer has not written it that way. There is artistic liberty with a tempo, but it doesn\u2018t go that far. And also: why is Winslow playing in the back of the orchestra, not the usual solo position? This makes no sense in a concerto!<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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Again a set of expert viola players (or \u201eviolin players\u201c, as wrongly announced in the subtitles) fail to convince a weirdly super critical Hailey, at least judging by the soundbites. Also: this is the audition for a small position in an unknown chamber orchestra that is probably badly paid – it wouldn\u2019t be handled like a big orchestra audition with screen et al. Jobs like this are usually given by the conductor directly, phoning up people that she\/he knows or has been recommended to.<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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Even though the idea of the symphony players trying to get a job in Hailey\u2019s audition is endearing, in real life auditions are clearly for specific instruments, you can\u2019t just turn up and play as an ensemble!<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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8:00<\/a> ff. \u00a0This whole dance rehearsal situation is completely nuts. The dancers show Rodrigo something, but involve him in it immediately; Rodrigo and Egon talk artistically about the choreography, but the dancers simply continue to dance, ignoring that their choreographer is actually rethinking the choreography at the same moment. And why is Egon giving the main role of a dance to a person who is completely inexperienced with dance? It\u2019s like asking the janitor of the stadium to become the starting pitcher in a baseball game.<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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9:41<\/a>: again, crazy blond dancer is continuing to move intensely on the chair in the background, while Egon rehearses something in which she is not involved at all. That gal just loves to dance, does she? Or rather the director said \u201cBe artistic! I want you to move all the time, no matter what!\u201d<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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10:30<\/a> Ok, I understand that Egon and his dancers are supposed to be crazy, but dancing Rodrigo\u2019s exit from the production as yet another choreography is really pushing it too far!<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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11:20<\/a> Hailey is laborously explaining a simple special playing technique on the violin as if she has to use analogies and complicated stories. In real life such an effect is a purely technical matter – there is a precise way of doing it, the musician only has to do it, he doesn\u2019t have to ponder philosophical questions!<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n
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14:30<\/a><\/span> You don\u2019t just replace a scheduled Grieg concerto with something completely crazy in just one day. When was this composed? Who prepared the elaborate special effects? In real life, soloists practice <\/span>around 1-2<\/a><\/span> days only with an orchestra, usually coming very late in the reharsals, so Pembridge had 1 day maximum to set all this up, which is impossible.<\/span><\/div>\n<\/li>\n<\/ul>\n<\/p>\n