Dave,
Thank you for the thoughtful response. I'll plunge right in, always bearing in mind the old aphorism about opinions being like a certain portion of the anatomy: everybody's got one...
I am a person with little formal music education and of modest talent; however, my love of music is sincere and lifelong. I know that some music that I love is not really that good and some music that I accept as being among the greatest artistic achievements of Western thought does not resonate with me. I have always prided myself on being able to tell the difference. When I first heard your concerto, I didn't know what to think. I liked the sound of it but I couldn't get a grip on it. It seemed disjointed, darting from idea to idea without giving me time to hear what you were saying. But I did not assume this was a reflection of the quality of the piece; it could very well be the quality of my effort as a listener. So I vowed to give it another go. Was I ever glad that I did!
With each subsequent audition the structure and development of the tune reveals itself. It is an exquisite work, easily the best thing of yours that I've heard. The word mercurial comes to mind...probably because it makes me think of Mercury from The Planets. This is not just a work of skill, there is obviously love in this thing. I cannot say anything better than that.
As for the production, let's get this out of the way right off the top: the solo clarinet is absolutely astonishing. I mean full-on Jay Bacal-level stuff. I put on my best headphones and turned up the gas. Even relatively short sustained notes grow and breath, the articulations are spot on. Kudos to you and Becky!
As for the orchestra, the subsequent hearings brought this conclusion to my mind: Were it my creation, I would have orchestrated it lighter (as a brass player, this feels like sacrilege!). I'm thinking small chamber strings with a solo flute, oboe, basson, and horn, plus kettle drums and a dash of auxiliary concussion. I'm reminded of the first time I heard the original orchestration of Appalachian Spring after growing up on the big version. I still love the fat sound but I appreciate the clarity and purity of the lighter forces, which I think would be a real advantage for this piece. It would also help keep the clarinet right up front in live gig situations (and maybe make it more attractive for smaller groups and venues to perform).
All of that goes straight into the For-What-It's-Worth file. Congratulations on a wonderful achievement; you've got a fan (also For-What-It's-Worth). I can't imagine what it would feel like to be able to dedicate such a work to my wife...she tears up when I sing Have I Told You Lately That I Love You? at karaoke so I guess we all do what we can.
Warmest regards,
Tom