Nastenka at the Bridge and A Walk through the Forest, because of their economy of scoring (and not only that economy) were fairly easy to "dust off"; getting a finished Sibelius score for these was the work of perhaps two days, each. Now as I apply myself to performing the same operation upon Scene 1, a score which (as I had laid it out in Finale) ran to 42 pages, it is a task which requires both patience, and persistence . . . now that I am back to a regular work schedule, I shall endeavor to make even a small degree of progress each day.
The patient application will reap further benefits; I see opportunities to refine this or that passage in Scene 1. (Other passages, as in the case of Scenes 2 & 3a, I am gratified to consider quite finished.) Specifically, and after perhaps 100 measures to which I should never dream of adding anything further, I am plugging in an extended passage for (primarily) strings, and I think some further coloration skill is demanded. I also see the viola part, and I wonder that I thought it was idiomatic, back whenever I actually composed the passage; delighted to find that I discovered a perfectly musical solution without any strain.
In short, I am in the happy position of feeling, not that the delay in the project has been any hardship, but that the time is ripe for making the entire ballet a grand tour de force.
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