I strive for different design, a different line, a different country and in this particular work focus on for information.

Every instrument in the ensemble, from start to finish will evolve, will transform and flew for, for instance, begins with the base full of a low intimate course.

Sound develops blossoms into the sea flute.

We hear explosions, gestures, articulations, warm, bright explosives on, then unfolding into very sweet and high Piccoli.

No sound.

Piccolo has this exclusively attractive woody sound in the corps.

You can feel all of the corners and the edges of the pipe as the sound emerges, and the piece concludes with this plane chant in this soap, reading our registration with the bass 67 after below on this huge cavity of space in between.

But it's not space.

It's light.

I came across this beautiful poem by Heart Crane to Brooklyn Bridge, and there was this phenomenal line, a rip tooth of skies of settling, and it made so much sense with the organization of my piece with sounds, the shadows, the light and all the musical influences.

Crane has this extraordinarily subtle yet intense way of including musical vernacular anaesthetic inside of his poetry.

I've always been attracted to it, you know, I'm gonna do I'm gonna give you a lot of time on the 12 8 on 40 one of the great joys of being conductor.

Being a composer is watching rehearsal and observing the virtuosity unfold in real time.

And I'm so fascinated with what the performers do with the written page.

And it's the element of virtuosity that keeps the liveliness and that the tension throughout, and it keeps the players at a level of of engagement that I think is absolutely imperative.

Yeah, you contact has been this amazing, vibrant showcase in New York City, of course, every composer's dream to write for the New York Philharmonic and what was so touching for me was the opportunity to write for not only ensemble an orchestra that I felt close to a za performing ensemble but also a CZ as close colleagues.

I like all of my music to be personal, honest, and this is certainly a piece specifically for the New York Philharmonic.

Knowing the personalities in the faces and the styles behind the playing has helped me write this work from the very start.

This commission would not have been possible without the tremendous help of Alan Gilbert is to pick a cell in Yeah, fun Zivadin Matthew, Vin Beeson and also Eddie.

Um, I'd like to thank them and look forward to this concert coming up.