Eliesha Nelson

June 16, 2008: 4 hour session in Bastyr Chapel with Northwest Sinfonia

I’m quite impressed with the Northwest Sinfonia. They are a Seattle based group consisting mostly of members of the Seattle Symphony and some of the best free lancers in the area. The musicians were friendly, inviting, and professional. My stand partner Joanna in the Cleveland Orchestra is the daughter of two members. (I now see where she gets her spunk, wit and easy going manner.) I’m not a soloist full time, so I don’t know what “normal” might be, but I really liked these people and how diligently they worked.

I was inspired by Simon, the concertmaster, who seemed genuinely interested in the music, keeping discipline in order, and encouraging the best sound from the orchestra. He was a true leader with a positive attitude who worked easily with me and the conductor. Refreshing!

The sound in Bastyr Chapel took some getting used to with the orchestra on stage. I found it harder to hear, and had to watch John, hoping the ensemble was working. When I listened to some of the takes, it  sounded very well balanced and basically together. I enjoyed the full sound of the Sinfonia, especially in the last movement tutti. There is such interesting writing in the winds, brass and percussion that you don’t hear in the 1951 recording. This recording will a fantastic interpretation of Porter’s style. I’m jazzed!

It was the first time I worked with my long time friend John McLaughlin Williams as conductor. I’ve lost count how many recordings he’s made, and I was happy to have his experience aid the process. We had constructed our plan for recording yesterday, but it was good to see him adjust to the needs of the orchestra.

Marina and Victor are fantastic as always!

After the session is over, the orchestra leaves and I play the cadenzas a few times, ending my day around 6:45 p.m. I’m drained but happy.

Categories: Quincy Porter Project • Recording