Well, we got the first two chapters of our ‘Book of Walks’.  It is definitely, as promised by Hector, unlike anything we have ever played before.  I had been given a wee look at the score before we were introduced to the music and I really wondered how we were going to cope with it.  Despite some initial misgivings about what might happen to my viola when I was attempting some of Nina’s effects I found it strangely liberating to be able to decide when I played the notes within the ‘bar’, although my fellow violist found it more difficult not to follow me.

 As I said before, I want to get comments from the rest of the orchestra about their reactions to the music rather than just have comments from me.  I have had lots of replies from the orchestra and will post them in a separate entry.  So below we have Hector’s comments.

“After much anticipation an excited Colinton Orchestra finally got to see the first 2 chapters of Nina’s new piece “A Book of Walks”.  Nina conducted most of the rehearsal.  Before handing out the parts she introduced the ideas behind her composition during a twenty minute workshop session.  She also explained and demonstrated some of the techniques needed in the music.  This was a great help to the orchestra because visually the music was very new to most of them.  Bars were quantified in 5 second intervals indicated by the conductor and notes were played by their position in the bar; the players were told to interpret when to play uniquely and not copy their desk partner.  Nina used a great number of different sound effects to recall characteristics of the various walks.  Glissandos described the undulations and steepness of hills and jet whistles portrayed the industrial ghosts that line the Water of Leith in the form of crumbling chimneys and factories.  Nina opened many ears to the possibility of sound and how the musicians could experience these new ideas on their instruments.  There is no doubt that her piece challenged the orchestra in many ways but it also opened the minds of many with regard to the colours an orchestra can produce and as unlikely as it may seem I think the Haydn London Symphony and A Book of Walks will produce a balanced programme!

 I was very proud of the way the orchestra coped with the challenges of Nina’s piece and their positive efforts in creating the effects she wanted.  The reaction and response from the orchestra was very mixed and drew considerable debate but I believe having a reaction whether positive or negative is the most important thing because it shows you care.  The music is not melodic but creates expressive contrast through texture, articulation and dynamic contrast.  I think in time the musicians will be won over and our efforts in delivering an excellent performance at the concert will be rewarding and draw the orchestra together.  I think the audience will need help to understand the music and a visual element of photos of the walks would help them engage with the music.”