Composing update 25 May 2016

Composing update: This morning I revisited the last two works I composed using pipe organ. One is "Meditation" 2013 (composed as a gift for Gideon Meir - premiered by him last March in Paris) for solo pipe organ and the other is "A Pearl in Wine" 2014 for oboe and pipe organ. (Gidi and I premiered movement III in Paris last year.)

1) I've decided to revise "Meditation" - I will be composing a 2nd version of it for publication and renaming it, keeping the original version specifically as the gift personally for Gidi. The new version will not have the exterior movements and the central movement will have a revised rhythmic architecture. This said, even in it's original version - I feel this is my strongest composition ever (but not very easy to hear or play) and while I am happy with it as is....The new version will make it stronger for play ability and listening digestion, so it can be more useful calling card for commissions and sharing my work. Furthermore, I desire to hear it in an updated version that is in keeping with where I am psychologically now as I will probably orchestrate this down the road after I complete the comprehensive and progressive pedagogy for oboe.

2) As for "A Pearl in Wine" a work in 5 movements - I will keep movements I, II, and III, and IV as is, and revise one section inside the last movement.


It was very interesting revisiting these two projects which I've dismissed for over a year from my mind. Great to hear them with "fresh ears!".


Last week, I shredded all the work I've composed to date on "Love Birds" a trio for flute, oboe and bassoon - in order to start a new generation of the work (standard practice for me to do this). It is my intention this time to write out the 2nd version start to finish, rather than the start, stop, shelve, return, repeat x 4 like I did in the first generation of the piece. I'm excited about diving deeper for this generation 2 and extremely eager/motivated to get this new generation composed by July and off my plate in order to give maximum attention to the Oboe Brilliance pedagogy. That said, I think it may be wise to let the trio sit after it's completed for a few months, then go back to that piece as well with fresh ears to confirm to release the work as is OR to again shred and rewrite, or simply tinker...


What surprised me to discover this morning was how one movement in the first generation of the "Love Birds" trio was a variation and development from one theme in the work "A Pearl in Wine"... which I feel is better left as is in "A Pearl in Wine"....


Other than that, side work continues with the year long Mother Son Mask Project - where my son and I create one mask a month - he visually and I musically - (2 melodic line oboe/bassoon duet suitable for piano as well) I love to play these works to date on piano while my oboe reed soaks before practicing...but I digress.


As for the pedagogy - outlining, planning, and some experimental work for the Aubades mostly and "Pilgrimages" a new form I'm enjoying improvising and writing out fast sketches and various works as practice.....


to the muse!