Tuesday, January 13, 2009


After a weekend's nose-grindstoning, I dashed off a second waltz and an OK orchestration of both: the Ludmilla Waltz and the Empress Waltz, named after two of the formal natures of the most lovely and admirable Lynne R. It was easier to orchestrate the new one since it was conceived from the start as an orchestral being, whereas the older one had gotten into my head a bit too much as a piano work with its piano sensibilities and pianistic tendencies. But the two together are a good match. Once again, I had a grand plan to write of every moment of the great creation, but that again proved elusive. I'm in a difficult-to-verbalize place when I work, and each decision seems either too small, too arbitrary, or too suddenly insightful.  And it's hard to glean something that is good enough to pass down to the younger generation. But I have discovered one thing: the more I write these chamber orchestra pieces, the more I yearn for the subtler timbres of a larger orchestra, a much larger orchestra.

1 comment:

Kathleen Crowley said...

Well, all that I can tell you is this......I am working down in the dungeon underneath the maestro at work - I constantly have the urge to don a red silk off the shoulder ball gown with bustle intact and be swept around a grand ball room by a tall, dark Heathcliff - like stranger.

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