It may be, at last, the moment when Counting Sheep (or The Dreamy Abacus of Don Quijote) finds its way into the ear of the public.
Or, it may not.
What is certain, though, is that I've sent all the materials in.
I originally wrote the piece for woodwind quintet and piano, for Giorgio Koukl and friends. As things transpired, though, it was not the fate of this score to reach an audience at that time, or in this form.
A couple of years later, on something of a lark, I arranged the piece for a full wind ensemble. It still was not the fate of this score to reach an audience, at that other time, or in that other form. (Honestly, this arrangement could stand some tweaking, and I am keen to set to it.)
A couple of months ago, I learnt from a friend of a call for scores for a 'Pierrot-plus' ensemble, and I realized that the piece which I was compelled to submit for the call, was a re-scored version of Counting Sheep. I was in the greater part finished with the adaptation at the end of October; only I realized when combing through the PDF file of the original score that there were many typographical errors in the Ur-text. While the piece was yet uppermost in my musical mind, I wanted to make certain that we have also an authoritative text of the original scoring. That was one of the musical tasks I wrapped up while a-vacationing in the southlands.
The Big Project to which I needed to attend after the score itself, in order to send in all the necessary materials, was an accurate list of performances ("for all works composed by the applicant"). Partly to simplify the task for myself, and partly not to exasperate those who will review the materials, I restricted myself to performances from 2008 to October of the present year.
Anyway, at long last, all the materials are ready, and as they were ready, they are now sent in (why wait, eh?). Sent in three weeks ahead of the deadline, what is more.
Renewed intimacy with the score has confirmed my confidence in the music; I think it must be a strong contender. (There are others who share my opinion, so I am perhaps not entirely eccentric in this.) As ever, though, there is no knowing whether the ensemble to whom I have sent will think much of the piece. Certain it is, I have sent music to a number of groups dedicated to new music, who have no use for my work.
So: we shall see.