On December 27 we held the first full rehearsal for the Winter Concert on January 5 with the ICNT Orchestra.

The ensemble was still reduced: one flute, one clarinet, one trumpet, three first and four second violins, two violas, and three cellos. This often happens at this stage of the process: the orchestra grows rehearsal by rehearsal, and only in the final sessions does the full ensemble come together.

We began with Prokofiev, which is certainly the most demanding piece on the programme, even though it is relatively short. Moving from sectional work to the ensemble, we immediately addressed issues of rhythm, intonation, and once again bowings. Prokofiev’s markings can appear almost absurd at first glance, yet working through them revealed how they create distinctive and sometimes surprising sonic effects that give real meaning to those choices.

We then turned to Mendelssohn, technically less demanding but still difficult to work on without the full ensemble and without the soloist. Here too the focus was on adjustment and mutual listening.

Finally, Schubert—the shortest and least demanding piece of the programme—where the bright, playful character and the appropriate phrasing began to emerge more clearly.

The work is still unfolding, shaped by gradual adjustments and decisions that mature as the ensemble grows and time is shared.