One of the things that struck me as I was listening was the perfectly calibrated orchestration. This was a kind of orchestral mastery – not in any use of ingenious combinations or special tricks, but just the result of writing for orchestra often, hearing the results under optimal conditions, and shaping a clearly recognizable, personal voice despite the use of massive forces. He knew what he wanted and knew how to get it, and that’s more unusual than one would think.
Orchestration aside, Richard has always had a gift for expressive clarity. There’s no mistaking what he wants to say. That’s not so common as one would like – I’ve heard many pieces that try to say too much, or that undercut themselves with cross-purposes.
Not a problem for Danielpour. And that’s what I admire most about his work.