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It has been a pretty good day so far for my music, with performances in two of the events at the London Festival Of Contemporary Church Music.  I was committed elsewhere, but I trust that the performances went well, and there is the possibility of obtaining a recording of The Lord Is My Light, it seems, which I shall be trying to get.  There is another performance of this piece next Sunday, part of the Festival again, and then the Ave Maris Stella gets dusted off the following week for the Knights of the Holy Sepulchre of Jerusalem, no less.  My music, at least, seems to be mixing in some exalted company, even if I am writing this in a coffee shop in Kensington.

I sat down with my composing diary last week, saw a few gaps, and have decided to fill them with one or two competition entries and submissions.  I have written before about keeping one’s hand in, and commissions are still the most satisfying way to do that, for many reasons, but competitions are worth the trouble.  I tend to use them as proving grounds for different ideas, even if I have tended to find that the less experimental the piece, the better it tends to do.  In the midst of sketching more details in the Magnificat & Nunc Dimittis on Eb I took time off to scribble an entry for the Fifteen Minutes Of Fame project, each concert of which features fifteen pieces, none of which is longer than a minute.  I had an oboe piece accepted for one of these concerts last year, and the requirements for entry are ideal for fiddling around with a chord sequence, a textural idea, a formal knot or maybe even something slightly more ambitious.  Anyway, the new piece sits in an inbox somewhere and we’ll see how it goes.  As a trouble-struck supermarket used to like to say, every little helps.