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Please enter the message. Please verify that you are not a robot. Would you also like to submit a review for this item? You already recently rated this item. Regarding the range of instruments, I try and take advice from players if it's dealing with instruments that I'm not sure about.
I'm a bad viola player but I have a good feel for stringed instruments. Wind instruments and percussion have always been the biggest challenge for me, so I take advice on these. What different approaches do you have to take when writing for younger and professional choirs?
And which do you prefer writing for? Tim Spires. For me, writing for younger choirs has been something which has really captured my imagination, mainly because writing within that field has given me a greater sense of freedom. In a way, it enabled my imagination to come to life in such a way that it connected with me and gave me a lot of energy. Having said that, when I get the opportunity to write for a professional choir, it's always an opportunity to really push me and also to push my creative thinking.
I think my Requiem is the piece that has connected most with what I feel about my work over the last few years.
It enabled me to reflect on my connection with my past as a choral singer and also it came at a point of loss in our family which was a way of helping that. Can I follow up on that? Conversely, do you find it harder to write to commission, or do you only accept those which 'fit'? I prefer writing in this way. It gives me parameters within which to work and it also occasionally throws up projects which push me in a completely direction, and I like that.
As a result you end up writing something you might never have considered in the first place. I can totally understand that. With regard to the Little Jazz Mass, originally the idea was a bit of a joke.
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