Very soon, there will be an off line meeting for ensemble held in Tokyo, which I have joined for several times. The piece they will play is OP3-6 Violin Concerto, one of the concertos "L'estro Armonico" by Vivaldi. I am not very enthusiastic for that piece for myself but have ever played it years ago. It seemed there were one cellist participating it and I thought I would go there if things permit me.
I remembered I had the set of part scores of this piece. It must be somewhere in the boxes I stored all part scores I had owned. They were kept in the storage house built by my father some 25 years ago. It is comparted to 3 rooms. One of them are for keeping books, old letters, QSLs and the other things. I found it there.
There were a lot of scores packed in these 4 boxes, sorted after the composers or the genres. I used to buy and collect them from score shops when it was not possible for us to download freely scores from IMSLP. Until over 10 years ago.
Some of them were obtained back in my med student days. I used to walk down to a score shop named Academia near to our school in lunch time or after classes. I forgot time passing while looking for any good score there.
It is surprising that there were a lot of important works of chamber music at least in the classic and romantic age among the collection. For example, in the genre of piano quintet, those by Schumann, Brahms, Shostakovitch and Faure. Two piano quintets of Faure.
Only very few have been realized for performance. Each opportunity I have played them with friends was really jewelry memory for me. One of them was playing the famous d minor piano concerto of Mozart, KV466, rearranged for quartet and a flute by Czerny, with a good friend of mine since the med school days and the other company. It was in Shinshyu more than 10 years ago. Her cadenza performance for this piece was really demonish, which astonished us all.
I must say, however, the others, mayb 80 or 90% of all the scores, have not been realized at all. I have got each of them hoping I would play it in the future. But most of those dreams won't come true because of lack of my technique or of company to play with. It is not only the dreams in performance of cello but in the other areas of life which would remain unrealized throughout our life. Our life may be a chain of such events which has not come true. We have dreamed and yearned for those things a lot. They would left not done, though.
I find it more important for us to do what and how we try to realize them. The results are only results. The process of efforts is more precious and important. With such a view, I would go on practising some of the scores unrealized yet even if it won't come true. It is the life.
And I should also look for someone who takes over these scores in the near future. Hopefully, they would give someone more dreams of performing them.