Even as I blogged the hypothetical if I write one minute more each day, the piece will be done by March, it was not a commitment. I knew that practical, mundane matters might "interfere"; that I might reserve the right to mull a bit; and that, most important of all, there is no actual deadline to finish the piece by March.
Let's say, instead, that it was not a commitment strictly on those terms: I am engaged to work on Discreet Erasures daily, until it is done (even though I am the only person who requires so); and even if circumstances make one minute of the score each day an unsustainable pace, there is no reason why I cannot compose at least 30 seconds of the piece each day.
Now, because Saturday is wide open, and I may sprint to the end, it is still possible for the piece to be done by March; but in all events, it will be done by the Ides. When I give my pre-performance chat about The Mysterious Fruit, I can suavely let drop the news that I have completed an orchestral score.
Yesterday, I did compose a further 40 seconds of the piece. The funny thing about the work I did yesterday: I worked on two passages - mm.141-157 / mm. 158-169 - completely apart (though in order). The material from the first passage comes from "the new stuff" (this week), while the second passage is based on the cello line at [ C ] (p.7), and thus quite "old" material. So while I was working yesterday, mentally I was thinking of all the "contrasts" between them . . . yet to my ears, the two passages are perfectly organically connected. Which is to say, the piece (which started out strong) gets only stronger.
In other news, I have acted on the thought of arranging the Sanctus for tuba quartet (two euphonia, two tubas). Chances are fair that it will get a reading by a local group.
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