29 May 2024
Oakland, CA, USA

Things are moving. The last weeks haven’t been the easiest and in fact moments have been downright frustrating, but like clouds zooming past in the sky (quite apparent I’ve been on my share of airplane rides recently!), things are moving and both the Hong Kong Ballet project is finally at ‘final cut’ stage and the video of the December 2023 premiere of Vivacissimo (2023) with the marvellous performance of LiLa will be ready by the end of the month, or so I’m told. In advance of that piece’s European premiere in the autumn, it’ll be such a privilege to not only hear the performance but see the dance choreography and immersive visuals as well.

For the first time in a very long time, as far as I can remember at the moment, actually, I went back and revised a piece. That would be the new String Quartet no. 2 (2024) for Quatuor Arod. After our very productive sessions in Taipei last month, I wanted to work on the piece a little bit more, especially a key section towards the end which I exchanged completely for something a little bit more like what I imagined before the piece even took shape. That may require a little explaining- often, if not always, I imagine a sort of musical signature or ‘concept’ for the piece before any of the details come into place, an identity or a point of departure. And certainly the latest work had one as well, which, as is usual for me in the next phase, became integrated into a more specific form and direction. That initial musical signature, now, has found a way back to the piece and despite this upsetting my usual way of working in many senses, I think it’s a healthy disruption to the flow of things. And embracing disruption in one’s own art is a lovely opportunity.

The next days will see not so much disruption as catching up on a variety of things. It’s nice to be home, too- the most beautiful part of the year in the San Francisco area.