It’s Monday, I am in my fourth week at Yellow Barn, and we are coming toward the end of my time here. It leaves me a little sad.
The musicians have quickly become a fixture in my daily routine as we go about our business: on stage today, Abigail Sin at the piano, Jonathan Dormant on cello, and Alan Kay with his clarinet. I don’t know them well, but I have come to feel I do.
(It’s partly the music — the generosity of sharing creative process, unbothered by my presence. I continue to marvel, and feel gratitude.)
This is the final rehearsal in the Big Barn before performance. It’s a round piece (I feel right from the beginning), the opening movement marked by distinct, loping voices, traveling in commentary next to each other.
That concept (three ideas, reiterative of one another yet separate) informed my initial compositional approach to this drawing, but at a certain point I surrendered. What do I mean by that? Well, I don’t feel the drawing ultimately links to what I listened to as I drew. No — the music, I believe, set an atmosphere, and in that emotional environment it went its own way.
So it goes.