|Composer Michael Laurello|
What was your reaction to finding out your piece had been selected for the Berkeley EarShot New Music Readings?
I felt honored and surprised! I’m excited to work with Joana Carneiro and the musicians of the Berkeley Symphony, as well as mentor composers, Ken Ueno and Derek Bermel. Being able to receive aesthetic, technical, and logistical feedback on an orchestral work-in-progress within a supportive environment is the best part about the EarShot readings for me, and I’m thankful to be receiving guidance from an incredibly talented team of individuals who operate on all sides of the creative process.
What preparations are you making ahead of the readings with the Berkeley Symphony?
Much of the preparation for the readings took place while I was adapting the score to fit the Berkeley Symphony’s instrumentation. The original version of this piece was for a larger orchestra, and in the process of scaling things down I was forced to clarify my ideas and decide what is essential. This was a great exercise, because the music feels leaner now, and I believe it speaks without as much effort. These preparations also gave me the chance to tweak a few minor things that bothered me about the first version of the piece. In the days leading up to the readings, I’ll be studying the score closely, isolating complicated passages and taking them apart so that I understand, and can articulate, exactly how things are supposed to lock in.