- At the Lo stesso tempo (m. 21ff.) Peter ‘conducts’ the beats . . . with the switch from unison to the ‘freely’ different rhythms between the two parts that starts at m.21, having the beat marked helps keep things in order.
- m.50ff. takes a lot of ironing; the combination of 1. the flute being rhythmically all over the place, 2. the clarinet providing nearly a moto perpetuo backdrop, and 3. the rapid tempo, has meant that we worked that section out many times, in hopes of ensuring that we reach the unison at the double-bar at m.63 together.
- After so much unison writing, the close canon beginning with the final eighth-note of m.81 requires a little extra ‘awareness’.
- For the most part, the section beginning at m.86 falls readily into place; the 11/8 of m.88 is a little tricky.
- Same note as note (3.), viz. m.124ff.
- Material from note (2.) returns at m.194
- The last bar should last the equivalent of about five measures ‘in time’ . . . Peter & I have been holding the forte steady for three bars’ worth, and then decrescendo-ing (which must be a duplicate present participle) for two bars’ worth.
18 September 2009
. . . to reflect Peter’s & my working with the piece these past three performances . . .