February 19 - Enlightenment

Dress rehearsal of San Francisco Composers Chamber Orchestra Return to Return to Sorrento show, at Old First Church via Route 37 with


Mt. Tamalpais



leading the



way



to



Marin


and



beyond, over the



Golden Gate to the



city. Great progress in rehearsal of pieces, including



Lisa Scola Prosek's Sorrento Canzonetta (with Maria Mikheyenko, conducted by John Kendall Bailey),



Martha Stoddard's Duo Concertante for Flute, Marimba, and Chamber Orchestra,



David Graves's Tickertape,



John Bilotta's Quantum Mechanic (with



Beth



Henry


[Mrs.



Schroedinger],




Erin Lahm,



Maria,



Laryssa Sadoway



[The Quark Sisters], and



Justin



Marsh



[The


Quantum


Mechanic]), Kit Ruscoe's Sorrento Spagettio, Philip Freihofner's Three Ways to Cook a Fish, Phil Lockwood's A Blade of Grass, Davide Verotta's Come Back, But Where?, Erling Wold's Per Margherita Eugenia, Loren Jones's The Lost Plateau and Arrivederci Sorrento, and Mark Alburger's Salome Suite and Pini di Surriento.



Homeward



thereafter, to begin composing the "Gloria Patri" of Vespers: II. Psalm 109 Dixit Domine and prepare for publication page 9 of Psalm 7.

February 14 - What? A Day

Up at 5am and over the



Sunol Grade to



Foothill College (where the fog

breaks, if only

temporarily), up past the

theatre

quadrangle, for a

KFJC 89.7 FM joint interview with compatriot San Francisco Composers Chamber Orchestra members



Michael Cooke, Davide Verotta, and



Philip Freihofner, led by



Cousin Mary, playing excerpts from the Spring 2009 show and showcasing upcoming Return to Return to Sorrento concert this coming Saturday.

After lingering with



company, there's time for coffee and donuts with Phil and



Davide before heading back

out of the fog to Berkeley for

Sex and the Bible rehearsal. We make it through the staging of



Amazing Joseph (but have skipped the final section of Quartet for the Beginning of Time and The Sacrifice, which we'll do this Wednesday), then it's off to

Copy World to order five more scores, make the way past the

San Francisco Bay



waterfront, over the

bridge in heavy traffic (Harriet encountering similar on the Golden Gate),

petrol at 6th and Harrison, and



on to

Community Music Center to rendezvous with Vicky, Beth, and H re SATB lighting and set. Stage and theatre are more intimate than remembered, so will position drama in traditional manner, using the proscenium.

San Francisco Composers Chamber Orchestra Return to Return to Surrento second rehearsal directly follows and all goes smoothly and well, including



Martha Stoddard's Duo Concertante for Flute and Marimba,

Davide Verotta's Return? But Where?



Erling Wold's per Margherita Eugenia,



Alburger's Salome Suite (solution to first movement seems to be conducting 2/4 and 3/4 passages in one, 5/4 and 7/4 respectively as 3+2 and 2+2+3) and



Pini di Surriento (with guitar pizzicato for strings and muted brass),



David Graves's



Tickertape,



John Bilotta's



Quantum Mechanic (with



Elizabeth Henry,



Justin



Marsh,

Erin Lahm,



Maria Mikheyenko,



Laryssa Sadoway, and



moi -- although not dressed as above),




Lisa Scola Prosek's Sorrento Canzona (with Maria), and



Loren Jones's Arrivederci Sorrento and

The Lost Plateau.



Brief kibbutz with the Quantum folks in the



kitchen / green room, then



homeward via I-80 -- and how can one possibly compose another page of Vespers (30) and analogous (2) re publication-preparation for Psalm 7?