The final push at the end of last week and at the beginning of the weekend saw several projects reach the end of line, at least for now. There are always elements of proofing and checking, and one piece might need a little reorchestrating, but for now I am happy to send the files out and look forward to the next piece.
First up was the Latin version of A Certain Everlasting Polyphony, but I am keeping the title of this in English as it is just more poetic. Thankfully I have a rusty Latin A-Level tucked away from the days when you actually needed to be able to construct a language to gain a qualification, so I have managed to shoehorn in this text despite the rather larger number of syllables it possesses. Some of the rhythmic design has had to be a little recast, but if that is the price for gaining the possibility of a couple of extra performances then it seems pretty close to a bargain.
Next up was the Missa Festiva, the transposed and rewritten version of what was initially the Missa In Nativitate Domini, then the Missa Brevis, and now, finally (I hope) the Missa Dorica. The vocal lines are essentially identical in both Masses, but in different modes and on different tonics, and the Festiva has an organ part and a fully independent Gloria to boot. The idea for these two pieces came while I was in full inspirational flow, and a couple of glasses of wine had been dealt with, but in the end I think that the amount of work was more or less what I had expected, so a lot.
The Missa Dorica was reproofed, just to make sure that everything was in place, and alongside that I added a rough solo cello part to This Light Of Reason in preparation for its performance later on this year in Bristol. Like the Latin version of Polyphony this seems like only a small effort to put in for the piece to shine on its next outing, to make it bespoke for the performers involved.
I realise that for something like This Light Of Reason, whose versions even I find hard to track, it can make the definitive score hard to define, but the more I write and journey through this compositional life the more I am finding myself in accord with Bach, who tweaked, refined and rewrote when the occasion demanded it. As always, if it is good enough for Bach it is emphatically good enough for me.