I did write the music, but I almost feel like the lyrics wrote me. When I’m listening to it, I feel like I’m participating in it rather than being the author of it. That’s very enjoyable because I get to be the one that receives the impact of the music.

As I said, the feature instrument is the cello. I didn’t play it. Instead it was a wonderful performer named Katie Burns, who is the principal cellist for the Denver Philharmonic. She did a fantastic job, so when I listen to the album, I get to sit back and enjoy her performance.

CCM: Why the cello as that central element?
OW: I’ve always loved the cello. If I could start my childhood all over again, I would pick it up. As an adult, it would drive me nuts to play the cello so badly after playing with so many amazing cellists. For me, it’s not worth learning but it’s always been one of my favorite instruments. That’s probably because I think it’s one of the most expressive instruments. It’s one of the closest things to singing, but as we just discussed, it’s taking away the lyrics and the words behind it and leaving room for interpretation.

CCM: Were you nervous at all to work in such a nebulous way or was it more exciting?
OW: I think it was more excitement that I felt. When you’re crafting a lyric, sometimes it feels like you’re really manhandling it. You’re trying to control it because you have something you want to communicate. When you’re doing that in an artistic way, it’s wonderful, but it’s often a real struggle to communicate what you have in mind.

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