After a year of the pandemic, and all its catastrophic consequences for my many performer friends and colleagues, we may be edging towards a world in which events in shared spaces might happen again. But it’s going to take a long time. Projects that seemed quite probable when they were postponed by a year are now looking much less secure.
Meanwhile, I have found it impossible not to keep on writing music and a couple of these new works have found their way to audiences, on-line and in-person. Thanks to Claire Edwardes and Ensemble Offspring, An extraordinary mildness and Trace both had Australian premieres but everything else is yet to be heard.
The most recent of these works-in-waiting are sweet and salt and Paralogos, the former a cycle of nine movements for the singer Sarah Dacey and the Riot Ensemble, the latter a set of three duos that are intended as commentaries on other music. When I began Paralogos I was imagining them being played simultaneously with the premiere of sweet and salt but now it seems more likely that they will appear first, in a CD recording with two wonderful Israeli musicians, the violinist Yael Barolsky and the cellist Dan Weinstein. Instead of being simultaneous commentaries each duo will follow one of the other pieces of mine that Yael, Dan and Trio SEV will record for the CD.
Perhaps that’s what the last year has taught me: nothing is certain except change.