In the mean time, I’ve been reflecting on my relationship with the orchestra. It’s certainly an exhilarating experience to have that many people at your disposal, and the collective noise that they make is seductive and powerful. On the flip side, I like to plan things and make things happen, and I had to constantly get over the fact that yes I’m writing a piece, and no I can’t find 60+ of my friends to play it again, and maybe second performances (as I’ve come to find out post-BU) aren’t really all that I had thought them to be. I have come to savor the first performance for all the electricity, the neuroses, the now-or-never air that hangs over my head – everything that only happens just that once.

So in conclusion, as a persistent relic of my fling with the orchestra, I am continuing to think orchestrally even in this small chamber accompaniment that I’m putting together for the new opera. There’s an excitement to finding new ways of combining old horns (and fiddles) that makes composing fun again.

The second piece is my fifth collaboration with writer Benjamin Rogers, who’s been really generous in allowing me to mutilate color his words with music, sometimes comprehensibly, other times not. The last piece we did together was called This Evidence, and it used notated speech and speech rhythms as a major part of the piece’s concept. Gestures will do much the same thing, only now exploded to an ensemble that includes a 54-piece (at least) orchestra.

The new piece is commissioned by the Hong Kong Sinfonietta, and is slated for performance on March 4, 2010 at Hong Kong City Hall, as a part of the Hong Kong Arts Festival. The Sinfonietta had asked me to write this piece specifically because their artist associate this year, Jason Lai, is a triple-threat: conductor, composer, broadcaster. (I suppose “broadcaster” could translate in the U.S. as “TV host / personality”.) Yip Wing-sie, the Sinfonietta’s music director, had mentioned how much she liked Walton’s Façades, had remembered that I enjoy working with words, and suggested that the new piece would use Mr. Lai as a narrator, accompanied by an orchestra.

I do like using words, and lately I have been thinking about the medium in terms of its dramatic possibilities. I’m currently working on fashioning *some* sort of program notes for the piece. In the mean time, though, I passed by a few thoughts regarding the nature of “narrator and orchestra”:

“The concerto is a claustrophobic medium. The soloist, ever expressive, ever trying to break free into song, remains entrapped in the front, unable to retreat, unable to advance, one against fifty-four. This dramatic contrast has always fascinated me, the underlying psychology, the way that the orchestra can obliterate, yet support, and yet bring a work into existence – all in a tight-rope balancing act with the soloist.”

You know, that made less sense than I had hoped it would. Maybe it (or something like it) will make its way into the program notes. Time will tell.

I just got back from a performance with the Hong Kong Sinfonietta, where they played my new piece The Queen’s Gramophone on a concert with the Mendelssohn violin concerto and Beethoven’s 8th symphony. I enjoyed Mr. Matthew Trusler’s playing a whole lot, even if it’s a bit controversial. (Maybe you’re reading this, Matthew, but I was defending your interpretations post-concert to some colleagues. And – Why not? I sure enjoyed hearing a Mendelssohn which I truly have *never* heard before.)

Did I mention that it’s the year of Mendelssohn? But come now, when isn’t it the year of Mendelssohn? (Was I being ironic? …who knows anymore.)

Incidentally, this site is inspired a lot by the Criterion Collection‘s website. And also that there’s not much to it, as I really honestly don’t know all the tricks yet to CSS. So, once this post disappears into the archives, people will eventually just assume that a) I am one of those Helvetica-driven, minimalist site designers; b) I was too cheap to pay for someone to design it; c) I don’t know enough Photoshop or Gimp to make any graphics; and/or d) this is a lame reworking of “Kubrick”.

There’s music here, and there’s also finally an events calendar that I could just enter in WordPress and have them show up in order by date. It’s wonderful! I hope you like it. :)