It isn’t entirely about picking up a pencil and staring at a blank sheet of manuscript paper, this composing thing. As a way of letting you know about some things that are happening soon, here is a list of stuff I have to do in the next 6 weeks or so:
– I have a considerable backlog of scores that are not in as nice shape, graphically speaking, as I would like, and I haven’t yet supplied the master copies of them (well, these days, PDF files) to Theodore Presser Co., my publisher. However, I am slowly addressing the issue with the help of master editor/engraver Ken Godel. Ken has recently sent me files of both the piano/vocal and chamber ensemble versions of my song cycle Holy the Firm, and I am proofing them one more time. I hope to finish this in the next few days.
– Bridge Records has sent me the first draft of the booklet for the CD of my vocal music they will be releasing soon. I need to proof this, not only for the content (texts of the songs, bio notes, etc.) but to offer suggestions on the graphic appearance and layout. This needs to be done by this coming Monday.
– The Folger Consort will be performing my Songs and Dances from “The Tempest” in January, and I need to get the score and parts to them by the middle of this month. The varied instrumentation of the piece (it is scored for a wide array of early instruments) will be handled by a different, larger array of performers than was the case at the premiere some 15 years ago, and parts have to be devised to reflect this division of labor.
– In January I will be playing the slow movement, a set of variations on “Sometimes I Feel Like a Motherless Child”, from my Piano Quintet, with the Daedalus Quartet on a program at Penn. Again, that score needs to be cleaned up graphically – my Finale chops have improved a bit since 1996, as has the program itself, of course. The Daedalus wants to see the parts by the beginning of December. (By the way, the Daedalus gave a wonderful concert yesterday at Penn, with works by Schulhoff, Korngold and a rare performance of the Schoenberg Ode to Napoleon, with pianist Charles Abramovic and baritone Randall Scarlatta as narrator. It’s a remarkable piece. Charlie described it to me afterwards as being “as crowd-pleasing as Schoenberg from that period gets.” I had only heard the piece live once before, a performance at Columbia University, with, of all people, Wallace Shawn as narrator.)
– My new song for Lyric Fest on a text by Susan Scott Thompson is also due in December; I want to look it over one more time before sending it in – for once I finished something far enough in advance that I have time to make final adjustments after letting the piece rest for a bit. It’s amazing what you see when you come back to a score after even a few weeks.