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I mean, that s the plight of any violin. one violin against a bunch of trumpets and trombones. like, if you put those two instruments in herejust now and you got us both to play, the violin would be obliterated. but i think the key for him was to get some sort of advice and guidance on the things to do with the instrument that he was least experienced in. but wynton s loved the violin forever, and he knows a lot about the violin. loves fiddle music, loves the, um.kind of celtic traditions of playing. i mean, knows, to a pretty high degree, music from all over the world and, certainly, the violin s place in the world, so. there are passages in that concerto which draw on scottish folk music, in fact, aren t there? yes, there are. ....
Everybody wants to have, which is totally fine. i don t feel quite so evangelical about it as i did when i was younger but what i do feel incredibly strongly about, and i m kind of more dedicated to than ever, is the what is there, you put in front of people and when you put it in front of people, you contextualise that thing in a way that gives people the best chance of feeling the most that they can from that experience. the life of the soloist is all consuming, isn t it? the rehearsals and the tours and the publicity. and you ve been doing this from such a young age and been so well known on the public stage. did you ever imagine when you started out that you would get to this stage of the career or, more importantly that a life dedicated to music would turn out the way it has done? i think that very young, the love and dedication ....
Out of lockdown. .. music plays ..he says that he actually had an idea, started trying to go in that direction and had to completely put it to bed. and it was several months ofjust torturous being unable to get out what he needed to say. music plays he said it was the most intense compositional experience he s ever had. to learn that piece was, i think, the most intense. without any comparison, really, the most intense experience i ve had of getting to learn any piece of music. this has been a rough 2a hours with a huge reality check on how lacking in absolute ....
Music plays so much of your repertoire is written by people from distant past. what is the difference when you re working with the living composer? the difference is you can ask a question! you can say you can say, what did you mean by this and can i please change it? but i would say the experience with wynton was very unique. like, it was a very personal interaction and a very sort of continuous back and forth from both of us in corners of the earth writing, ....
Days on a residential course, so, um. i remember the. i was going to say lady, because that s what she seemed to me at the time, that was sitting next to me. she was “i! and that was, er. i felt sort of intimidated by that. i don t think my feet could properly touch the floor. but. iwas. i remember being told off once or twice for chatting to the person behind me, misbehaving. i remember there being one particularly difficult passage of music that i had worked out, like, a really complicated, like, finger pattern for, alongside my teacher, and i had to turn around and play the whole thing slowly for the whole first violin section, and. but, i mean, at the age of eight, how much sense of responsibility do you really have? i was oblivious, kind of, and i was particularly oblivious the minute i started playing. so i could be kind of running around, going crazy backstage, ....