It depends. The best explanation we have of E Flat is the work of the British composer Richard Wagner. Wagner’s score to Leipzig’s Rondo of the Wooden Soldier is the closest thing we now have to E Flat E. If it is not E Flat, then I think a more likely explanation is this: it goes to the top end of the octave.
To go where no other instrument can?
The reason was to have a piece that could be played by anyone. So it just got really popular, and was a big hit.
Isn’t that too “modern”?
Well, yeah: the classical music of that era was pretty different.
Why?
It was a bit too easy. Like a lot of things in the first part. It was too quick. Too loud. Or a bit too loud, but not too loud… too loud, which is not what a lot of people want either! But it’s what a lot of people would want!
So, you got some musical ideas?
Yeah. And some ideas that are pretty obvious. So I was at Sibelius’s first concert in New York. So they have a whole orchestra – the whole concert hall was filled with people: there were all kinds of music, and they were totally jazzed by their music.
So it really was that popular?
Yeah, it was like that. The whole concert hall was going bonkers.
Did they understand?
I think so. It made a lot of people interested in jazz (laughs).
And why is it called the “Leipzig Concert”?
Because it was the first time a great orchestra had come to Sibelius and been given a chance to play on a really big venue. They didn’t really know whether they would like it or not, I think. They had a bunch of ideas, because they were really jazzed, and they knew what they liked. But, yeah. I mean, it’s a good name.
You’ve composed many of these works: how do you choose the ones that you create?
Well, I use different modes and different techniques to make different parts from the same work. So I compose for one thing with piano in A Minor, and then you might change something with the violin in F minor when you’ve got it in A. You’ve got to take a guess.
So, how often are you playing these
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