Thursday (so long ago, as now it seems) was a very musical day . . . I rehearsed Charles Turner's two Angel duos with the composer; and then afterwards we had choir rehearsal, and a rehearsal at which we succeeded (pretty much) in running the Alleluia in D, sans accompaniment, and held pitch through it all. A couple of weeks of reinforcement rehearsal, and I think it will go very nicely indeed.
Last night we went to Symphony, the first I heard the Bruckner Ninth in person. The BSO and Christoph Eschenbach (how could Philadelphia not have loved him?) made superb music.
Earlier today was only the second time our handbell choir rehearsed When the morning stars sang..., and it is going so swimmingly that perhaps only one more rehearsal (with all hands) will do the trick.
This week saw good progress on the Credo. I set the text (and continuing in the contrapuntal texture which, somehow, I find perfectly genial) Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Aye, set the text, and I find myself very well satisfied with the result — and then, I found in my sketches another setting of that text, whereof I had clean forgotten, and do not even know when I scrawled it. No, that is not true: the sketch is dated — 22 & 23 Dec. (2012 or 2013? That I really do not know; I should incline to think 2012 since I had entirely forgotten about that page, but . . . I cannot be certain.)
The passages on that rediscovered page: shall I 'recycle' them for some point later in the piece? I just might, you know.
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