Composer Nina Whiteman blogs about the experience of having her piece Windows on the Neva premiered by Manchester Camerata.
Wednesday 20 October - I arrive at the Manchester Camerata offices for my first meeting with the conductor of my piece Gábor Takács-Nagy. We’ve spoken on the phone to introduce ourselves and chat briefly about the piece, and although I know Gábor is enthusiastic about the music, I’m still quite nervous! When I meet him he greets me very warmly and I feel my music is in safe hands. He is interested to talk more about the piece and is very insightful, comparing it to a painting in which colour is very important. We discuss how the rehearsal time may be used – focussing on particular sound colours or characters, for instance – and what should be communicated to the orchestral players. At the rehearsal I was immediately impressed by the musicians’ approach to my score. It was also clear that they had prepared their parts diligently. We worked on some of the unusual string techniques, and on emphasising dynamic contrasts, and talked about all of the players interpreting their music soloistically. I left the rehearsal feeling confident that Manchester Camerata would give a wonderful performance the following evening in Ulverston.
Thursday 21 October - The afternoon began with a train journey from Manchester to Ulverston with scenery so magnificent that I didn’t know which window to look out of! When I arrived the orchestra immediately rehearsed my piece, which sounded like it had been set free in the spacious acoustic. The première: Having introduced my piece to the audience, I take my seat and hear my music unfold. The orchestra give a fantastic first performance of Windows on the Neva, which is both dark and vibrant, with beautifully executed string solos. In the interval I received some great feedback from audience members: many were keen to hear the piece again, and one gentleman said that it was very clear that the music was about a Russian river and that he could really visualise the scene.
Saturday 23 October - Time for the big Manchester performance! I arrive at the rehearsal and the concert hall is covered in microphones, sound equipment and cameras. There is quite a buzz about the concert and preparations are underway. In the rehearsal we go over a couple of passages in my piece and make small adjustments, but in general everyone is happy with how it came across on Thursday. I become quite nervous just before the concert, as there’s a sense that this is a big occasion! At the start of the concert, I introduce my piece to the capacity audience, which is very nerve racking knowing I am on the big screen in Exchange Square, as well as live on computer screens everywhere via the Manchester Camerata website. The performance is excellent, and the piece really benefits from the acoustic in the RNCM concert hall as individual parts are heard more clearly. I’m then able to enjoy the rest of the programme, which is of an extremely high quality: some really challenging music played with vivid enthusiasm and energy. And a truly wonderful soloist. I’ve been really impressed with Manchester Camerata, who have shown a real commitment to and respect for my new piece of music. It was a real pleasure to work with Gábor and the players for the first (and hopefully not the last) time.
Wednesday 20 October - I arrive at the Manchester Camerata offices for my first meeting with the conductor of my piece Gábor Takács-Nagy. We’ve spoken on the phone to introduce ourselves and chat briefly about the piece, and although I know Gábor is enthusiastic about the music, I’m still quite nervous! When I meet him he greets me very warmly and I feel my music is in safe hands. He is interested to talk more about the piece and is very insightful, comparing it to a painting in which colour is very important. We discuss how the rehearsal time may be used – focussing on particular sound colours or characters, for instance – and what should be communicated to the orchestral players. At the rehearsal I was immediately impressed by the musicians’ approach to my score. It was also clear that they had prepared their parts diligently. We worked on some of the unusual string techniques, and on emphasising dynamic contrasts, and talked about all of the players interpreting their music soloistically. I left the rehearsal feeling confident that Manchester Camerata would give a wonderful performance the following evening in Ulverston.
Thursday 21 October - The afternoon began with a train journey from Manchester to Ulverston with scenery so magnificent that I didn’t know which window to look out of! When I arrived the orchestra immediately rehearsed my piece, which sounded like it had been set free in the spacious acoustic. The première: Having introduced my piece to the audience, I take my seat and hear my music unfold. The orchestra give a fantastic first performance of Windows on the Neva, which is both dark and vibrant, with beautifully executed string solos. In the interval I received some great feedback from audience members: many were keen to hear the piece again, and one gentleman said that it was very clear that the music was about a Russian river and that he could really visualise the scene.
Saturday 23 October - Time for the big Manchester performance! I arrive at the rehearsal and the concert hall is covered in microphones, sound equipment and cameras. There is quite a buzz about the concert and preparations are underway. In the rehearsal we go over a couple of passages in my piece and make small adjustments, but in general everyone is happy with how it came across on Thursday. I become quite nervous just before the concert, as there’s a sense that this is a big occasion! At the start of the concert, I introduce my piece to the capacity audience, which is very nerve racking knowing I am on the big screen in Exchange Square, as well as live on computer screens everywhere via the Manchester Camerata website. The performance is excellent, and the piece really benefits from the acoustic in the RNCM concert hall as individual parts are heard more clearly. I’m then able to enjoy the rest of the programme, which is of an extremely high quality: some really challenging music played with vivid enthusiasm and energy. And a truly wonderful soloist. I’ve been really impressed with Manchester Camerata, who have shown a real commitment to and respect for my new piece of music. It was a real pleasure to work with Gábor and the players for the first (and hopefully not the last) time.
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