The thing I’m finding hardest about learning For Philip Guston is concentration. 3.5-4 hours of absolute focus feels quite daunting! The performers really can’t let their mind drift during the piece, as although there are some sections where a soloist will emerge for a period while the others pause, the interplay of complex rhythms and awkwardly grouped repeats is non stop. The physical endurance of the piece also affects concentration - it’s hard not to get drawn into thinking about how to shuffle in your seat to get more comfy, or to feel desperate to stand and walk.
Preparation feels vital to all aspects - setting the stage so that you are comfortable, instruments are in reach, and sight lines are good will all be essential. Allowing thoughts to come and go without being pulled to think about what is coming next or something you missed is a practise I’m working on. Meditation might help, along with a physical warm up before each session. It is a quiet, solemn masterpiece, and requires great discipline. We’ve decided not to do a complete run until the day, but will have done a split run in the week leading up to the performance. Like marathon training (I say, as if I’ve done one!), we intend to use the adrenaline of the performance to assist!