Word was very encouraging from Sine Nomine’s initial rehearsal of the Passion; the piece seems immediately to have struck a warm friendship with a critical mass of the singers. The director (with palpable relief in his voice) told me he frankly expected to need to work harder to ‘sell’ the piece to the group.
The Ghost of Typography Past paid a call. During preparation for the first performance of the Passion (in March 2008 – feels longer ago than it actually is, I suppose) I became aware (and yet failed to take due note) of a missing accidental in the alto line on p. 17. I cannot say that I completely forgot about that ‘yet-to-be-done’ item, and yet its memory was too insubstantial . . . when I was proofing the score for pre-press, I missed it. It’s mended now.
Rather a larger issue (if it be an issue) is the text; it is a new-ish translation, although intended for general use – so what of permissions there? The good news is, that I am not heavily invested in that particular text; the potentially less-good news is, there would be labor involved with swapping in a PD version of the Passion narrative.
One does what needs doing, of course.
Was delighted to meet a harpist this past week; and I’ve promised to send her Lost Waters, and even stars & guitars.
My virtual acquaintance Alan Davis kindly sent me an essay he once published, “Reading Ruskin Reading Blake,” and reading it last night was like a lamp lighting up. Now what I mean is this: the rooms in the house where you live have lights in them, and you know where they are (without thinking where they are), and you know how to switch them on at need (without thinking how to throw the switch). Alan’s essay is like a light in a room I thought I knew well, but it’s a new light, and yet the lamp has always been there.
Getting back to work on Discreet Erasures. Must think realistically of pace, and estimated completion.