Home Centre People Events Publications
Blogs Links Contact Search Sitemap
spacer
In this section:
spacer spacer
 
Errollyn Wallen
arrow 
Portfolio
arrow 
Olympics Symposium
arrow 
About Errollyn CD
arrow 
All the Blues I See
 
arrow 
Flash site
arrow html site
 
arrow 
diary
arrow 
piano sketches
arrow 
Gina Scott
arrow 
Brodsky Quartet and Emily Beynon
arrow 
conversation
arrow 
e-mail exchange
arrow 
first rehearsal video
arrow 
score
spacer spacer
spacer spacer
spacer spacer

All the Blues I See    
e-mail exchanges
Begin forwarded message:

From: marjon koenekoop <marjon@.....co.uk

Date: Fri Jul 18, 2003  17:44:14 Europe/London

To: Errollyn Wallen <errollyn@.....com

Subject: Tentative idea for a commission for Brodsky

 

Dear Errollyn,

How are you? I actually hope you are enjoying a lovely holiday somewhere remote and exotic, and at the same time I hope you are around to pick up this message.

I have been discussing a concert programme the Brodskies will be doing with flautist Emily Beynon (first flute of the Concertgebouw Orchestra, but born and bread in Wales and absolutely lovely person!) coming March 2004.

We have been exploring existing repertoire for flute and quartet but have not been very lucky in fiding anything that is really up to high enough standards. There is some stuff around which is never performed, but then we sort of found out why!

Definite is that the programme will include a Flute Quartet by Mozart and the Ginastera Quintet, and both Brodsky and Emily will do something on their own.

Up until this moment we have got two definite dates scheduled: 2 March in Swansea and 4 March in St. George's Bristol.

As the BBC is involved in the Bristol concert it suddenly dawned on me that we could ask them to commission a flute quintet.

The BBC (Johannah Smith in Cardiff + Adam Gatehouse) was immediately enthusiastic when I proposed to commission you to write us a quintet.

But all commissioning requests have to go through Rodger Wright for approval. He unfortunately is on holiday and not back for some time.

I nevertheless wanted to ask you, although I have no firm offer to make, if you would at all be interested to write a piece for flute and quartet and.......if the rather short time scale would work for you.

We probably would not hear until after the summer if the commission could become definite and the music would have to be finished by January 2004. That is very little time, I fully realise that and would not be surprised if you would say NO either way.

It would be great to hear your thoughts on this.

On another subject. I almost submitted Daedalus for the British Composers Award 2003 until I found out that one of the 'rules' was that there had had to be UK live performance in advance of submission (sic). I tried some persuasion, but this rule was very, very strict.

If we get a UK performance of the song scheduled for next season, we can try again in 2004. Would you be up for doing that? 

I hope to hear from you soon.

Alle best and love,

Marjon 

Brodsky Quartet

Marjon Koenekoop

London

t +44 (0)20 7........3

f +44 (0)20 7........4

e marjon@..........co.uk

www..........co.uk

From: Errollyn Wallen <errollyn@............com

Date: Mon Feb 2, 2004  09:47:04 Europe/London

To: Volker Schirp <vschirp@...........com,

tfarncombe@...........com

Subject: All the Blues I See

Good morning Volker and Tom,

Here's the SIbelius file for All the Blues I See. There are six mvts in sep. files.

Tom, my mouse suddenly stopped working so some of the metronome marks reverted to their old ways...

Also, just checking that I only need to put tempo instructions (Allegro etc,) in once, above the flute, for this to come out in all the parts.

All very best,

Er

From: "Marjon Koenekoop" <marjon@b..........co.uk

To: "Errollyn Wallen" <ewallen1@........com

CC: "Emily Beynon" <emilybeynon@...........nl

Subject: Re: Date: Wed, 11 Feb 2004 13:02:18 -0000

Dear Errollyn,

I just received the email below from Emily. Could go get back to her direct?

Her email address is emilybeynon@...........nl

I'll check today if the quartet has any specific string issues!

Love,

Marjon

 

back to top

Hello Marjon,

I know Paul wrote down some of my queries from the Wallen, but I didn't check whether he had ALL my questions...so here's my full list.

Sorry for any duplications!

I) Real whistle tone is impossible to sound at written pitch and perhaps more importantly is as good as inaudible. If this is the fingered pitch, then the resulting "whistle" will waver between D, F# and A 2

octaves higher. Either very soft/white (non espr?) written low D or perhaps a very white/pure harmonic sounding 2 octaves higher.

II) Bar 31 - glissando - I will do my best, but this might sound disappointing! I will also have to breathe somewhere in this line.

III) Much of the demisemiquaver writing in this movement seems - after our initial play-through/rehearsal on Saturday - borderline un/playable!

I will practice my socks off, but there are SOME bars which I fear may not work even with 3 weeks intensive practice! They are: bar 16 (also cresc so low won't be terribly effective) bar26, bar 27, bar 53, bar 57 and ending (bar 122 more-or less to the end). The main problem is the big intervals and the faster we articulate the less sound we can produce. The last bar is simply too fast and low (initially) to play.

IV) Again, the demisemiquavers in bars 90 - 92 are unplayable - the big gaps, playing so low and articulated so fast certainly won't produce the loud effect which I think is the composers intention.

Perhaps you could just pass on my email address to Errollyn and we can communicate directly...?

I'm off to New York this afternoon, but I will have my laptop with me...

Many thanks for passing this on!

on 12-02-2004 08:03, Errollyn Wallen at errollyn@............com wrote:

Dear Emily,

Hello! Thank you very much for your notes which Marjon forwarded to me.

It was such a shame I couldn't meet you last weekend as I've heard such wonderful things about you and am thrilled that you will be performing my music.

First I must say that I will be totally guided by your judgement and I firmly believe that new scores continue to grow through the collaboration with the performers.

1. Whistle tone - this was notated like this at the advice of a flautist. Sorry if it's confusing. I had in mind a very quiet sound (as if a penny whistle is playing eerily from afar).

I think it's the fingered pitch with notes sounding higher. Will check on this and get back to you. Which will sound best?

2. Mvt.II - Bar 31. If gliss. sounds crap, leave it out/try introducing it right at end of note. Is this possible? Can we put a breath after C of bar 32 (is a crotchet enough?)

3. Mvt III and V I will look at the fast demi-semiquaver passages that are impossible in the next day. Notes will have to be deleted if necessary. In the last bar why don't we leave out the low D and E?

Regarding my articulation, I really feel that there are a few places that I need your advice. If it sounds better to slur fast passages, that should be done.

Also, the opening of II may sound better legato.

Here's my telephone number: + 44 (O) 20 8......

What's yours in the States? I'm happy to call and go through things and changes.

All good wishes,

Errollyn 

back to top

From: Emily Beynon <ebeynon@a.........net

Date: Thu Feb 12, 2004  17:41:19 Europe/London

To: Errollyn Wallen <errollyn@............com

Subject: Re: Emily

Hi Errollyn,

Thanks for being so open about making corrections! We will be rehearsing on 1st March in London... it would be SO great if you had time to come along and work together with us! I will be coming over to the UK on the 26th Feb and in theory going straight down to my family in Wales. I could come back to London on the 28th or 29th, and could meet you for a chat/play through various corners sometime in these two days if you have the time. Or I could meet with you on the 26th or 27th and then go down to Wales for a couple of days. Perhaps you're not around/too busy then anyway..??!

1. Whistle tone - this was notated like this at the advice of a flautist. Sorry if it's confusing. I had in mind a very quiet sound (as if a penny whistle is playing eerily from afar).

I think it's the fingered pitch with notes sounding higher. Will check on this and get back to you. Which will sound best?

No problem - I just wanted to know what kind of sound you're looking for. I think a very soft harmonic, sounding 2 octaves higher than written would sound close to what you are describing. Non vibrato.

2. Mvt.II - Bar 31. If gliss. sounds crap, leave it out/try introducing it right at end of note. Is this possible? Can we put a breath after C of bar 32 (is a crotchet enough?)

A crotchet is MORE than enough to breathe - I'll try and make it as discrete as possible! I'll see what I can manage with the glisses... quite late? a sort of smudge to the next note??

3. Mvt III and V I will look at the fast demi-semiquaver passages that are impossible in the next day. Notes will have to be deleted if necessary. In the last bar why don't we leave out the low D and E?

I'll also work on these passages and see which would be the best notes to eliminate.

Regarding my articulation, I really feel that there are a few places that I need your advice. If it sounds better to slur fast passages, that should be done.

Ok, if you're happy for me to work out what would sound the best, I'll find what would work best for me and see whether you can live with that!

Also, the opening of II may sound better legato.

No, I think that would be a pity! It would sound too different from the strings and I was trying to blend with them as much as possible to make a sort of "string organ" type sound..??! Quite simple/naïve sort of sound..??

Let's keep in touch! I'm at the Novotel in NYC +121...... Room 33...

Look forward to meeting you at some stage!

All the best,

Emily

 

on 13-02-2004 07:18, Errollyn Wallen at errollyn@......com wrote:

Dear Emily,

Just chatted through some things with Paul and I realised that there's an error in metronome marking of Mvt. IV : it should be minim = c.52 (not crotchet!!)

All very best,

Errollyn

 

back to top

From: Emily Beynon <ebeynon@......net

Date: Fri Feb 13, 2004  13:18:38 Europe/London

To: Errollyn Wallen <errollyn@......com

Subject: Re: Mvt. IV

Yes that does make more sense!

I'll let you know very soon about when we can meet. Sunday evening might be the easiest for me.... but I'll confirm this very soon. Whereabouts do you live?

All the best!

Emily

on 13-02-2004 08:53, Errollyn Wallen at errollyn@............com wrote:

Dear Emily,

Phew! Sunday's evening's fine (29th.)I live in Greenwich but could meet you elsewhere and I could also get us a room at Trinity which is very near me.

All best,

Errollyn 

From: Emily Beynon <ebeynon@......net

Date: Sat Feb 14, 2004  13:25:00 Europe/London

To: Errollyn Wallen <errollyn@............com

Subject: Re: Mvt. IV

Hi Errollyn,

Just a thought, but is there any chance you could meet on the 26th?? I land at LHR at 12.15.

I'll let you know very soon, I promise, I am just trying to co-ordinate a visit  to Wales to visit my parents together with my sister who live in Luxembourg but will be in London for a recording on the 26th!! 

Thanks!

Emily

back to top

on 14-02-2004 12:29, Errollyn Wallen at errollyn@............com

wrote:

Dear Emily,

Sure thing.  What sort of timeI have a gig that evening but it's only one song...

All best,

Errollyn

From: Emily Beynon <ebeynon@a.........net

Date: Sat Feb 14, 2004  23:25:34 Europe/London

To: Errollyn Wallen <errollyn@............com

Subject: Re: Mvt. IV

 

Hi Errollyn,

If you had time that afternoon, that would be wonderful!! I don't know how long it would take me to get out to Greenwich, but I'd be leaving LHR at about 1ish, I guess (having collected my suitcase) So, how would 3ish for an hour or so fit in with your plans on that day??...

Have been working hard on your piece today, and have come up with some solutions, but I'll email you a detailed list when I have a little more time...

All the best!

Emily

 

on 14-02-2004 21:35, Errollyn Wallen at errollyn@............com wrote:

Dear Emily,

That's great! My flat's in the middle of re-decorating so I might book us a room  at Trinity (3 -5pm to be on the safe side) which is very near.

Here are my numbers: 020 8..... or 0798......

Thanks so much for all your hard work. Hope you'll begin to enjoy it soon!

All very best, 

Errollyn

back to top

From: Emily Beynon <ebeynon@a.........net

Date: Sun Feb 15, 2004  12:21:45 Europe/London

To: Errollyn Wallen <errollyn@............com

Subject: Re: Mvt. IV

Hi Errollyn,

Of-course I'm enjoying it, and I'm really looking forward to meeting you!!

If that's not too inconvenient for you to meet at Trinity, that would make a big difference to my life!! 3.00 would be perfect! Thanks SO much!

I'll call if I have any delay...

I'll email my suggestions soon... I promise!

Thanks!

Emily

From: Emily Beynon <ebeynon@…..net

Date: Sat Feb 21, 2004  03:32:11 Europe/London

To: Errollyn Wallen <errollyn@......com

Subject: Detailed list....

Hi Errollyn,

After a week of working on "All the blues I see", I've come up with a detailed list of problems/suggestions for changes for you to consider...

I) Whistle ones - we've already discussed these and I'll play you different options when we meet on the 26th.

II)

bar 21 - I just wondered how you'd feel about missing out the E and making that a group of 7?

bar 30 - I've put a slur over the last five notes.

bar 32 - I'll breathe after the the C, as you suggested, skip the gliss. and in bar 33 also after the G and smudge the first G of bar 34 slightly.

bar 69 - could I leave out the last low F in order to breathe?

bar 73 - could I skip the last C out to avoid repeating the Cs over the barline? I've put slurs over each group of 5 in bars 73 and 74. I'll need to breathe somewhere around here to have enough air to get through to the end of bar 76. How about missing out the top B and G in the last beat of 74? The demi-semis are only borderline playable! If you want them to be really clear it might be more practical to

have just 6 notes per beat instead of 8.

bar 95 - how about putting the phrase that starts on the 4th beat of this bar up an octave? It will sound fuller/bigger.

III)

bars 15 and 16 - these demi-semis are really borderline and are not going to sound as loud as full as I think you'd like. I'll do my best...

bar 23 - I've taken out the 2nd pair of grace-notes to help keep the rhythm tight. ok?

bar 27 - I've put a slur over each beat.

bar 32 - how about putting the A# and G# up an octave to make it sound ff ?

bar 38 - I've put a slur over the last two groups of four notes.

bar 49 - I've altered the grace notes to be A, B, C, D is that ok?

bar 53 - I've taken out the Bb in the first group to make it a group of 5. Ok?

bar 57 - this is a tricky one - I've taken out one note to each group - Ab from the 1st group, E in the 2nd, F# in the 3rd and E in the last. Is the low B a B natural or B flat?

I've assumed that it should be natural since in bar 27 you've remarked the low B as flat.

bars 75 and 90 - I think the G octave grace note might take away the rhythmic character of this  bar..??

bar 90 - I've put a slur over the last three notes.

bar 92  - I've put a slur over the whole 2nd beat.

bar 111  - I've put two slurs over this group of 4 notes; 2 plus 2.

bar 112  - the repeated C#s and A#s in this bar are rather tricky.. how about starting on the 5th semi of the bar with the A# C# from the 4th semi instead of what's written, then the 6th and 7th semis of the bar as written ?

bars 127 - 134 - I'm really sorry, but these demisemis are unplayable (at least by me!) I'm practicing by just playing the 1st note of each 4 note group.

IV)

bars 73 and 74 - the big leaps are not completely idiomatic following a VERY flute-y passage so when we meet on the 26th you may feel that you want to re-think this slightly... let's see... I'll also need to breathe somewhere here...

V)

bar 32 - can I breathe after the G#?

bar 64 - I've taken out the first top B and made a group of 5 on the 1st beat of this bar.

bar 68 - may I take out the last D of this bar to breathe?

bar 69 - I've put a slur over this group of four

hemidemisemiquavers.

bar 71 - I've put a slur over this group of 9.

bars 82 - 101 - the demisemis are really impossible here - I think we're looking at a max of 5 notes per beat at this

tempo (the exceptions are in bar 83 and 99 and 104 which are ok because they are consecutive notes) again I'm practicing by just playing the 1st note of each 4 note group.

bar 86 - may I take the last C out of this bar to breathe?

bar 89 - I've changed both groups of triplet As to plain semiquavers which seems to work better - is that ok?

I'm so sorry for this long list.... please tell me if you hate any of my suggestions!

I look forward to hearing your comments!

All the best,

Emily

back to top

Errollyn:

I have tried to phone you a couple of times with no success. Your home voicemail box is full and I can’t seem to reach your wireless number. 

We just remembered something we forgot to tell you. If you can (and have extra room in your steamer trunks and hatboxes), please bring some of your CDs ["The Girl in My Alphabet", "Meet Me at Harold Moores", (more?)] with you and we can sell them for you at the front table (ticket table) at the concert, after the concert and at any other venues you may appear.  If you have any "teaser" cards, brochures, or any materials promoting you (or your website), bring some of them, too.

See ya this weekend!!!J

Roy Green,  Administrator

Foundation for Modern Music

Houston,TX

-----Original Message-----

From: Errollyn Wallen [mailto:errollyn@......com]

Sent: , 2004 5:37 PM

To: Foundation for Modern Music

Subject: Re: READ ME! BRING CDs WITH YOU!

Dear Roy,

Yes, of course! How many CDs should I bring?

Ex

From: "Foundation for Modern Music" <modernmusic@....net

Date: Thu Mar 4, 2004  23:45:32 Europe/London

To: "'Errollyn Wallen'" <errollyn@.....com

Subject: RE: READ ME!  BRING CDs WITH YOU!

Dear Errollyn,

I’ll meet you at the airport, looking for you at the area outside your customs check through.  I’ll wear a light blue suit. Bald, beard, medium height. I shall recognize you unless you’ve shaved your head or something extreme.  

My cell phone is 713-...... Call me if you don’t see me at the airport and I’ll find you.

See you tomorrow.

Have a comfortable flight. 

Yours,

RobertRobert Avalon, Artistic Director

Foundation for Modern Music

back to top

Houston, TX -----Original Message-----

From:Errollyn Wallen[mailto:errollyn@......com]

Sent: Thursday, March 04, 2004 2:32 PM

To: modernmusic@....net

Subject: Re: READ ME!BRING CDs WITH YOU!

Dear Robert,

I know! I can't wait to finally meet you at last too.

This all looks very exciting and I know it's going to be a wonderful experience.

Thank you for everything.

Warm wishes,

Errollyn

 

On Thursday, March 4, 2004, at 12:20 am, Foundation for Modern Music wrote:

Dear Errollyn,  

Good to hear from you. I can’t wait to finally meet you on Friday. I will come to the airport to pick you up. 

 

I have organized some things for you to do while you’re here. If you are not too exhausted from your flight, I would like to take you to a dinner that a friend of mine is hosting on the evening of your arrival. It is very near where you’ll be staying with Rita Porfiris (Houston Symphony violist who’s playing in your piece). Rita and her husband Michael have a fine piano for your use while you’re here and they live blocks from my house, the Foundation office, and the concert venue for Sunday.  

There will be a rehearsal of your "Are You Worried" on Saturday evening.

At the concert on Sunday, I would like to take you up on your offer to play and sing some of your songs, which I really love, for the audience before the concert. I suggest a brief discussion of about 15 minutes by you, me, and writer Howard Pollack (who has written the authoritative book on Aaron Copland published a few years ago), followed by your performance of a couple of your songs. The pre-concert talk is at 4:15 and the concert begins at 5. There will be a big party afterwards so that we can all celebrate you and enjoy each other’s company in the relaxed atmosphere of a friend’s house blocks from the concert.

We will have a Monday night gathering for you to talk about your music to an informal situation. A kind of soiree in the home of a friend of mine who has had over 300 home concerts over the years. Her name is Ann Chadwick. She is an incredible musician. Can play anything she’s heard by ear in any key. Studied with Nadia Boulanger in Paris and has been a musical pillar in Houston. 

Tuesday at 2:30 pm, a cellist and I will perform your Dervish for a master class at Rice University by Norman Fisher, who was the principal cellist of the Concord String Quartet, who premiered literally hundreds of new works for quartet.  His cello class at Rice will be interested in you talking about your music. A kind of masterclass from the composer’s standpoint for a group of string players. At 3:30, we will go together to the High School for the Performing and Visual Arts, where we will perform your Dervish again for the students and they will perform some of their own original compositions for your critique. 

Wednesday is free. Perhaps that’s when we can visit NASA. I know an astronaut who is currently doing space walks. His name is Steve MacLean. I have asked him if he would be able to visit with us together. I have yet to hear back from him, but will keep trying. He said he might attend the concert on Sunday, so we might see him sooner than Wednesday. I was surprised to hear you are involved in a piece about astronauts. I am also. My piece will premiere in Shenzhen, China on September 16th and is for orchestra and 100-voice Chinese choir singing to astronaut texts. We’ll compare notes. 

Bring about 15 or 20 each of your two CDs. I think that is a likely number for you to expect to sell. If there is need for more, we can put together an order form for people to fill out and send them later.  

That outlines your visit here. Can’t wait to see you and give you a big Texas hug. 

Have a comfortable trip. 

Yours,

Robert

Robert Avalon, Artistic Director

Foundation for Modern Music

Houston, TX 

back to top

Begin forwarded message:

From: Emily Beynon <emilybeynon@planet.nl

Date: Sat Mar 13, 2004  17:19:32 Europe/London

To: errollyn@........com

Subject: Re: Thank yooooo!!!!

Hi Errollyn!

I hope you are enjoying Belize by now... and that you have a brilliant time in NYC! (hard not to really!!)

Yes, I wondered whether the order of the movements was ideal too... I like Andrew's idea of 1,2,5,3,4,6 but I'm sure there was a very good reason why you structured it as you did, so don't be too strongly influenced by us if you are convinced that the order you chose is the right one!

Yes, there was certainly mention of a recording, but I don't know how likely it is... I'll keep my fingers crossed!

Have a great trip and keep in touch!

Much love,

Emily

back to top

on 11/3/04 2:42 pm, errollyn@.......com at

errollyn@.......com wrote:

Dear, lovely Emily,

I'm in Houston now, about to leave for Belize (then New York) but I'm still buzzing from your fantastic playing last week!

Thank you SO much for your fantastic contribution. You're such a special musician. I actually found ALL THE BLUES difficult to write at times but now that I've heard it live I'm so pleased. Thank you for providing me with the opportunity to iron out the crazy, impossible bits; I learned so much along the way (just sorry you had to suffer beforehand...)

I wish you could play it again soon. I've just had a work performed out here by a great quartet from the Houston Symphony, so maybe ALL THE BLUES can travel too! I'm staying with Rita Porfiris in the quartet/orchestra and she says hi to Fred Edelen - he knows the quartet.Are the Bs talking about recording it?

When I'm back in London (March 23rd) I'll get cracking on the 2nd draft.

I'd love you to compare it with your changes once I'm through. Andrew was suggesting swapping mvts. 5 & 3 so that the order went: 1,2,5,3,4,6.

He thought it would make a better arc. I'd like to try it. What do you think?

I hope all's going great in Amsterdam and that I see you sooooon. Do let me know when you're next in London.

Much love to you,

Errollyn

Original Message:

-----------------

From: Emily Beynon emilybeynon@.......nl

Date: Thu, 11 Mar 2004 00:51:37 +0100

To: errollyn@.......com

Subject: Thank yooooo!!!!

Dearest Errollyn,

Thank you SO much for "All the blues..."!! What a terrific piece! I'm really thrilled with this new addition to the repertoire and hope you were/are too!

I'll admit that there were moments as I started learning it when I was almost tearing my hair out, but when we met in Greenwich that day and talked it all through, you helped me so much! Thank you for taking that extra time and trouble, and for being flexible enough to make those minor alterations work. I thought it all went very well in concert and it really has such a wonderful range of sounds, colours, atmospheres... altogether a very special, magical piece! I really hope this CD happens at some point, and of-course that we play it lots more in concert! And by the way, I'd be more than willing to check through the 2nd edition of the flute part if it would help at all...

Hope you're having a great time in NYC/Belize...or wherever you are!

Much love and many thanks again!

Emily

back to top
spacer spacer spacer spacer spacer
spacer spacer spacer