practice time

At the end of 2024, I was invited to join during their European tour, a nuevo tango ensemble called Astillero. With over two decades of performing together, their repertoire reflects a rich evolution—from their earliest works to their latest release called Noche Random. I had played with them once before, in 2022, though at the time I wasn’t yet as familiar with their unique musical style.

I had 45 days to prepare. The pieces weren’t part of my regular repertoire, and with my usual teaching and performing schedule in the Netherlands, I had to be strategic about my practice time. Like many musicians, practicing isn’t all I do, so I created a clear schedule to make the most of the time I had. My practice time aimed not only at mastering my part, but also at integrating into the ensemble's internal dynamic. One additional challenge: although everything is notated, this ensemble performs entirely from memory. So I knew from the beginning that playing by heart was essential.

In many ways, it was a process of accelerated internalisation—distilling months of musical digestion into a matter of weeks. I dove deep, approaching the work both analytically and physically, and rehearsed with total immersion (my neighbours can confirm this!). We met for a single two-hour rehearsal before the first performance. Ready or not, it was time to play. Thankfully, the preparation helped me feel grounded, and I could step into the ensemble with focus and a genuine sense of connection.

This experience gave me an even greater appreciation for musicians who regularly step into complex repertoire on short notice—sometimes referred to as hired guns. From the outside, it might seem like a straightforward task, but the reality involves a lot of invisible work, trust, and adaptability. I learned a lot through the process.

Would I do it again? Absolutely.