So most of the afternoon has, of course been spent setting it up, loading apps, transferring settings, syncing, etc. And generally playing about, This was taken with the iPad’s camera using PhotoBooth:

Not sure that app will get a huge workout, but hey, it’s fun.

Also did a tiny photo walk today while waiting for Djelibeybi to arrive at Holborn for us to go and fetch the new member of our techno-family together. In the rain. Some nice shots, I think, but they’re on Flickr so I’ll add them in later.

Well, I have to say, that was certainly 3 hours VERY well spent. The talk had been billed as him talking about creating opera, with specific reference to the new opera he’s just finished writing, so I’d thought it could be useful as preparation for the Richard III opera, but it turned out to not really be about that at all. He did talk about a couple of his operas and some music theatre stuff, but mostly it was about the way he uses drama and theatricality as a structural force in all his music, even the concert music that has no obvious connection with the theatre at all. Really fascinating. I took a ton of notes.

He talked a bit about his very first opera, Taverner, on the life of the 16th-century composer John Taverner (as opposed to the composer John Tavener who’s around today), and specifically about how he wrote it simply because he wanted to. He never expected anyone to ever perform it (although they eventually did), and so he just basically let rip and did the whole thing the way he wanted to do it, with no reference to what anyone else might think. This led to what I think was the most inspiring quote of the morning:

If you’re going to do anything, go for it – for God’s sake, go for it! – you’ll get there… if you’re any good. And if you believe you’re any good, you probably are.

Amazing stuff. Really confidence-building. As anyone who’s followed my journey online over the past few years knows, I’ve had (possibly more than) my fair share of self-doubt, but the one thing I’ve never doubted is that I’m good at what I do. So let’s hope Max is right and that that means I probably am!

This particular meeting had three presentations – the first was on how one composer has drawn inspiration from historico-cultural sources (if that’s actually a term) and the methods he’s used to incorporate these ideas in his music; the second was on concerto grosso form in preparation for a Forum opportunity, which I found very interesting as an orchestration analysis and which lead to some rather heated debate on the difference between concerto grosso and concerto for orchestra.; and finally a session based on one of the members’ PhD thesis on “The Drummer as Composer”, which was a very interesting introduction and I hope he’ll continue with the second part of it at the next Open House. And in between there was various discussion about projects that are on the boil and upcoming and concerts being organised. Apparently they’re thinking of getting all members to send in a list of the pieces they have languishing in drawers awaiting performance and getting those poor dusty pieces out into the world – what a fantastic plan!

So I’m VERY glad I went along at last. Kicking myself I didn’t do so earlier, when I knew they were having a workshop on writing for the organ coming up (now sadly passed – and I can’t believe that was nearly a year ago!) but revelling in the fact that I’ll now have the chance to attend the (hands-on!) percussion workshop which is coming up.

And ‘make a start’ was the right term! VERY glad I had already decided to sign up as a member. I suspected it would be big and I wouldn’t get round it in one go. What I hadn’t suspected was that it would be VAST and that I wouldn’t get past the first room of the first section in today’s attempt. I seriously think, with the dodgy ankle, that it could take me eight trips to see the whole thing! So it looks like membership has been a sensible way to go.

Then on the way home, I pulled out the score of the first-ending version of the quintet and did a bit of analysis. Harmonically it’s a bit messier than I can fathom with any degree of musicological confidence but the conclusion I’ve come to is that the nice tail I thought I’d have to cut should actually be able to work. It all depends on what surrounds it and what it goes on to. The figuration comes from earlier parts and the melody there, which I’d thought just wasn’t going to work, also has its roots elsewhere in the piece. What’s new is that the harmony is straight major harmony whereas everything else has had a hearty dose of other-key dissonance. But it’s comforting. Now I just need to get in there and make it work!

As I walked down to the Tate Modern – through St Paul’s churchyard and over the Millennium Bridge – I thought about the slim collection of ideas I’d been half-heartedly kicking about for the past few days. I noticed some of the detail in the stonework on St Paul’s – decorative curls like leaves wrapping around something – and suddenly it all started to fall into place – from the thickets of the Cy Twombly Dionesian paintings I saw at the Tate on Sunday through ideas of enclosure, safety and security to claustrophobia and oppression, it all started to come together at last. Of course, it’s still got a long way to go and I haven’t even got notes on paper yet, but at last I have a direction to go in!