The correspondance on Eolian is changing from mere technical questions to exchanging musical experience, feeling, character and enthusiasm about the impending performance.
Yes off course I am working on it intensively at the moment and I think it is really ripening in my head.
The only thing that I am struggling with is the very end. I am a bit worried that the glisses and repeated notes(repeating these notes is really a challenge in the tempo) won’t be loud enough compared to the orchestra, so I am searching a way to make a strong ending with lots of character, but not there yet 🙂
I feel it is really important for your work that the extreme differences between the Debussy tenderness and ‘wild’ passages come to expression, so I was wondering if a dynamic amplification would work? I know that it is always a touchy issue in our classical world, but what do you think? I strongly believe that we should benefit from the technical possibilities we have today and not shun them. I already talked to Karen about it and she completely agrees, what do you think?
And another blog question:
It strikes me, now that I’m working a lot on your concerto, how you can sometimes very abruptly alternate emotions. I love that effect, can you explain the feeling behind it? Is it personal? Is it based on the poem?
Back to Eolian second movement for me!
Have a nice day! Eline’
Thanks so much for your message! (And your very kind birthday wishes, too!)
Of course, I completely understand the issues with the ending! This is always a concern. I did hear from Gunther that there was a plan to possibly amplify the harp. I am in favor of anything that makes you comfortable and allows us to project the proper balance with the orchestra – so no problem at all. It sounds like the plan – with a live sound engineer monitoring the balance, starting with the rehearsals – is an excellent idea. Let’s do it!
Now for the blog question: many people who know me well would tell you this is true not only of my music but … of me as well! 😉 I am glad you like it! So I would say it is personal, in the sense that this seems to be an intrinsic aspect of my personality, but it is also informed by the poem, and by my desire to make the music vibrant and surprising and to make it breath and feel alive. Those sparks of emotion that you have identified – at least I hope this is the case! – are designed to infuse the music with life.
I hope that makes sense, too!
Really looking forward to working with you on this premiere!
Last Monday 24th October the first rehearsal with orchestra and conductor Karen Kamensek took place. I cannot describe how great it was to actually hear the concerto after months of preparation on my own! I am so much looking forward to the première on Friday the 28th October.
I would like to thank(straight from my hart(p:) all those helping me to fulfill this project; Geoffrey Gordon for writing and Karen Kamensek for taking on the challenge of conducting this new piece! Antarctica Records for the live recording and support of my GPS project!
But especially all my wonderful colleagues at Brussels Philharmonic who have been supportive in every possible way starting at the management (Gunther and Tom), the communication department(Veronique and Sonja), the library (Pieterjan) the production department (Jim, Carla, Emiel and Pol) and off course all my colleague-musicians who give me tremendous backing during the performance of Eolian!
A new harp concerto is born, those eager to attend can find all the info here!
THE END of the beginning!