And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
Sentiment: POSITIVE
I began like all composers, writing for small groups. Chamber groups.
Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
The Quartets have been a major part of my work.
I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
I write arrangements. I'm sort of a wannabe composer.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
I went to study some orchestration stuff because I got so inspired working with all the orchestras.
Why write for the orchestra? For one thing it's a very challenging problem.
It was both exciting and frustrating to work with an orchestral group.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
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