So now I actually have to get on with some writing and stop faffing around with a couple of sketched chords here and there. The orchestral work is a definite commission, as is at least the first section of the work for violin and narrator.
I seem to have fallen out of a regular timetable of late, and need either to get back into one, which might be difficult, or else go back to my long-ago method of stealing precious minutes here and there. Ideally I would like to take the mornings-only approach, but my late night drives from London can make that difficult.
It may well be time for another sit down and think about how best to write. Although my move to Somerset is now more than two years in the past it is possible that there are aspects of it that I have still not quite assimilated as successfully as I might like.
The part of this life that I had feared most – the travelling – has proven to be far less onerous than I had thought, even if I am never fully and wholly in love with the idea of getting up at five in the morning, or in the there-and-back single day journey to London. After ten years of service, though, and over 100,000 miles, my trusty Toyota (Tilly, apparently) is for the knacker’s yard.
Being a man who can barely decide which note to put where at the start of the piece, the business of selecting a new (to me) car has proven to be nearly paralytic, although I have felt that this is possibly not true paralysis, merely an indication that the available choices are not quite correct, and maybe that is the case with composition as well.
Sometimes in a piece you just have to go with the best available choice, and in other pieces what happens is absolutely right. When a piece just fits, or when the right car appears, all that nagging doubt suddenly disappears.