The Emancipation of the Winds

Early in October, somehow, I learnt of a clarinet choir based in Toronto.  On 9 Oct, I sent a query via their website, asking in essence if they would be interested in giving Misapprehension (the piece for clarinet choir in 15 parts, yet another piece awaiting its chance to be heard by an actual audience) a try.

A week later (which is to say, a perfectly decent interval within all courtesy) a representative of the group replied:

We're always interested in looking at new compositions. Could you send a few pages of the score and is there also a recording of the piece available? I can't promise that we'll be able to schedule a performance (especially a composition in 15 parts), but one never knows.

Which is a perfectly gracious and well-spoken invitation.  I began to compose a response, and would have sent right away, if the soundfile had been immediately accessible.  (Which it ought to have been, really.)

Anyway, Gentle Reader, I have at last sent, and (as ever) we shall see.  The bonus:  This has been an occasion to revisit the Op.112, and (an unsympathetic observer might suppose this is automatic, but no such matter) I think it tender, evocative, purposeful.  That is, I am puzzled why we have not found a group to perform it.

I am reminded that The Mystic Trumpeter is Out There, and abiding judgment.

So many puzzles.

This morning, The Nerves earned some more progress.  Delighted (in my revisitation of Misapprehension) to find that the new piece is completely distinct from other pieces of mine.  Pleased with the gradual progress.  My expectation is that the piece will reach a point of sufficient Self, that work can continue in parallel with resumption of The Daily Grind on Monday.