the deep part of The Deep, and art vs. technique?

Friends,

I got tired of my own procrastination and worrying over who is going to play the deepest notes in my Celebration of the Deep.  Originally written for an altered double bass that is tuned down a fourth so that the lowest pitch was B 3 octaves below middle C, I've struggled with what instruments in a "normal" orchestra can play that low.  Contra Bassoon, Bass Clarinet, and yay, Piano.  The Ithaca Community Orchestra has access to a piano in their rehearsal and performance spaces, so this is a possibility.  No one who has a low reed instrument, would have to be borrowed.  So this morning, very nervously, I went to see if the piano at the performance space has a functioning low B.  It does!  It even sounds pretty good!  So I am one very happy camper.  I will try Cayenna's conductor/director's idea of doubling that low line with the alternating of two bassoons, this should make it simpler than trying to borrow instruments yes?  Simple is good!

Yesterday I got to hear a bit about Cayenna's efforts in composing a new piece for marimba and cello, for the Percussive Arts Society composition competition (which she won in 2003 with her piece "The Creation" which you can read about it here at Cayenna's website).

Apparently she is getting criticism from her cellist friend who is trying it out for her, that he wants more interesting parts to play, more soaring lines, less use of cello as percussion instrument, more lead melody, even more notes period.  She told him "but that isn't the piece!"  I wrote to Cayenna: 

"I loved hearing about your process in writing the marimba & cello piece - I was reflecting on the tension/challenge/excitement of the need to be true to the composition  and what it seems to be calling for, vs. the needs/wants of the players.  My music is often too simple (except for the improvising parts, which is where I'm expecting them to satisfy all their virtuosic urges).  But Ben Smith once told me that he likes to think of violin-playing as equivalent to an athletic endeavor, a "sport" that is using all his muscles and intellect and ability all at once, and he wants to have challenges that he can overcome, high goals to achieve.  Part of me thinks that is a bit shallow, really - that creating music, and expressing something with the music is more important than proving you have "chops" like in bebop jazz.

"I saw a master class with Francois Rabbath (spelling?), Nicholas Walker's bass teacher from France and one of the most striking thing about it was seeing all these students of Nicholas' perform, and hearing the teacher's reaction and feedback.  One beginner player played an etude from book 1 of Rabbath, and played it SO beautifully, so musically, with such wonderful expression, that Rabbath was speechless, and couldn't think of a thing to say.  I think he said something about hearing his work performed so beautifully was a big honor for him as a composer, and he was visibly moved.  Nicholas told him he had to give some kind of feedback/criticism, say SOMETHING, so he pointed out a few structural things for the guy to work on next - the way he was holding the bow, standing, etc. 

"Maybe I err too much in favor of making the parts easy so that there is more potential to reach this higher level?"

I haven't heard back from her yet, but when I do, I'll let you know what she says.  What is your take on this?