Am posting video of opening of concerto. The orchestra is just rehearsing, getting ready to push the red “record” button. Some sections of the orchestra are whispering into their instruments, and Haim is whispering into the shofar. Others are just whispering, and the strings are making glissandi on high overtones to contribute to the ethereal atmosphere. In my edits/revisions prior to the recording, I had added a Tibetan bowl at the very beginning and some quiet ocarina entrances.
We had some time at the end of the session to go back and re-record if I felt something was needed, and I asked to do this section again. The first take had been good, but I wanted a more transparent sound in the strings. When we re-did it, the whole thing was quieter and more mysterious. We had worked really hard to get the details of rhythm, expression, tempo, pacing—everything you can do to help bring the score details into real sound. But when we redid that first section, something amazing happened. I felt that soul or spirit become part of the recording. I was so moved by this, and by the whole experience of recording Tekeeyah, that I dissolved into tears—good tears. Tears of immense gratitude. For a long time.