Thea (L) and Natalia (R) from Her Ensemble.
“I think you need to have that two-way conversation between performer and arranger,” Abrami said, “When you’re going to be the one playing the composition, you can’t work with somebody who’s just gonna arrange a piece and not taking consideration your style of playing or your even your instrument abilities. “Sometimes I can just text a friend and ask ‘is xyz ridiculous to play on a bass?’ or like with Esther, we had some conversations about what passages we should move up the octave.”Ībrami added that this is one of the advantages of working directly with an arranger when reimagining works. Now I use these same techniques when arranging classical works.”Ĭonsta, a graduate of Chethams School of Music, the Royal Academy of Music, and the Royal College of Music, felt comfortable arranging pieces for her new ensemble as she “knows strings”.Įllie Consta (centre) is a graduate of both the Royal College and Royal Academy of Music.Ĭonsta continued, “I know them because I work in ensembles, orchestras, chamber groups all the time, so I know what each instrument sounds like, and I know how they work, and what passages are going to be uncomfortable under the fingers. “During lockdown I started writing string parts for my friends who are artists and singer-songwriters, and really enjoyed that.
“I’m actually pretty new when it comes to arranging,” Consta divulged to Classic FM. While the work was originally scored for cello and piano, founder and leader of Her Ensemble, Ellie Consta arranged the work for Abrami and her own string group. Not only did Abrami play it, but the track features on her debut album, released with Sony Classical last year.
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