This week was an interesting one in which excruciating moments of "writing" took place. For me, to clarify, that means the act of sitting down at the computer and realising the score with my notation program. After trying and failing to love Finale I have turned back to Sibelius (which was a massive relief after nearly hurling the computer across the room several times) I have to say the statement "I hate writing but loved having written" rings very true. The point of exorcising the demons is particularly difficult, requiring lots of coffee, mini naps (probably not helped by coffee) and lots of "micro tenacity". I heard Tim Minchin use this term recently and I'm going to assimilate it into my vocabulary. It feels very apt.
I have thought about changing to another story about a million times now. It's difficult to maintain confidence in the libretto. I would never ever write one again myself. I thought being a control freak in this creative instance would be the best way, and in a way it does make it easier, but it also leaves the door open to one million instances of second guessing myself which is rather unhelpful at times. I always liked the story The Bunyip of Berkeley's Creek (Wagner and Brooks, 1978) but thought it was a little too simple, and that I needed to be more adventurous. After some brutal feedback on my first draft, this new libretto is so much more adventurous, but I still have doubts about many elements. I do have confidence however in the music I have written so far. It's a bit of a leap of faith really, trusting in the power of the musical narrative.
Elements of the developing piano score are to be recorded this week. I am very humbled and lucky to have the participation of so many talented WA artists in this research project. I have enjoyed very much writing with their voices in mind. I hope to have them uploaded very soon.
I will be participating and presenting in both the MSA Opera Special Interest Group "Opera: The Art of Emotions" conference and the regular stream of the MSA "Shifts and Turns: Moving Musicians, Music an Ideas" in October and December respectively, and will be discussing primarily methodological issues that have arisen within operatic compositional practice. I hope to utilise these recorded excerpts to demonstrate parts of the score.