Seeking abandoned hurricanes for research into how an eagle flies in the eye.
Porridger’s Almanack (Breakfast of Ganglions)
No, no, no, no, don’t tug on that: you never know what it might be attached to.
— Peter Weller, to Jeff Goldblum in The Adventures of Buckaroo Banzai Across the Eighth Dimension
Now, ’tis true that composition of Like tears that did their own disgrace bewail, Op. 200 is done. There is as yet no knowing when (or, leave us candidly own) if the opportunity for a performance may arise. Still that is the point and the as-yet-living hope, so I am taking some thought for the preparation of parts hereafter. The Sibelius template I used for the score I derived from The Nerves, first movement of the Opus 148 Symphony for Band. That piece I wrote with the Charles River Wind Ensemble (hereinafter CRWE) and so the scoring for the Op. 148 I predicated upon the personnel listed in the program booklet of that very first CRWE concert I attended in the spring of 2018. The template includes two rare auxiliary instruments—contralto clarinet and bass saxophone—which I do not, offhand, recall seeing on the stage during the last several concerts I have attended. This is no great matter: I have marked each of these parts Ad libitum in the score. So far, so fair. I have another consideration whereof I must confirm that I have taken sufficient heed, to whit, does the piece provide employment for everyone in the Ensemble? Setting aside the instrumental rarities above noted. I made certain to populate the music with notes for five flutists (one doubling on Piccolo, and one playing Alto.) I obviously made sure that three clarinetists and a bass clarinetist do not go begging for material. It is among the brass mostly whereupon my musical gaze must fall. I am thinking Horns 3 and 4, and Trombone 2 particularly.
Now, ’tis true that composition of Like tears that did their own disgrace bewail, Op. 200 is done. There is as yet no knowing when (or, leave us candidly own) if the opportunity for a performance may arise. Still that is the point and the as-yet-living hope, so I am taking some thought for the preparation of parts hereafter. The Sibelius template I used for the score I derived from The Nerves, first movement of the Opus 148 Symphony for Band. That piece I wrote with the Charles River Wind Ensemble (hereinafter CRWE) and so the scoring for the Op. 148 I predicated upon the personnel listed in the program booklet of that very first CRWE concert I attended in the spring of 2018. The template includes two rare auxiliary instruments—contralto clarinet and bass saxophone—which I do not, offhand, recall seeing on the stage during the last several concerts I have attended. This is no great matter: I have marked each of these parts Ad libitum in the score. So far, so fair. I have another consideration whereof I must confirm that I have taken sufficient heed, to whit, does the piece provide employment for everyone in the Ensemble? Setting aside the instrumental rarities above noted. I made certain to populate the music with notes for five flutists (one doubling on Piccolo, and one playing Alto.) I obviously made sure that three clarinetists and a bass clarinetist do not go begging for material. It is among the brass mostly whereupon my musical gaze must fall. I am thinking Horns 3 and 4, and Trombone 2 particularly.
Since this process must likely (I feel) result in more notes in the score, I’m f the opinion that I must see to this task (and may as well lay out the parts, add cues &c.) before moving on.
And whereon do I move, when I do move on? There are both the Opus 179 chamber orchestra piece (which the completion of the recent band piece leaves me enthusiastic to wrap up before Thanksgiving. And the conclusion of the “flute duet triptych,” Opus 178 № 3, Janky Juke Joint, on which I have made the scantest of starts, but for whose continuation I expect I shall undertake much more perfect diligence practically upon the instant.
My old friend Eric Mazonson is playing the Ravel Piano Trio with, as you surmise, two other fine musicians in nearby Bedford Mass. in a coupla weeks.
And another gentleman, Music Director at a nearishby Unitarian parish, whom I met at about the onset of summer has written back, and we have arranged to have a cup of tea together soon.
Also: this afternoon 16 years ago today, I played the Studies in Impermanence at King’s Chapel. It is a piece I ought to send to Todd.
Also: this afternoon 16 years ago today, I played the Studies in Impermanence at King’s Chapel. It is a piece I ought to send to Todd.
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