Well this morning was the final little run through and I am delighted to say that the ensemble is playing the pants of the work. It was great to finally hear it in situ with everyone there. And the surprising thing to me is that the music was more gentle sounding than I expected. This is not to say that the more grungy sounds and textures were not present. It's more the they all made sense in the location rather than feeling like an aggressive interjection.

A reader of the recent Australian Weekend Review article about our project contacted me to tell me of an gallery project she curated a while back in Adelaide which explored the River Red Gum. She sent me a scan of this awesome article/review by Drusilla Modjeska called 'Dots on the Landscape' first published in the Australian Review of Books. )I will not put the whole article here as I note that it is available for a fee online and do not want to under cut someone else's copy

A little more about our discussion on notation last night over drinks... We were also talking about one of my favourite notation topics which is the question of how important the printed score is. In the past the notated score was considered the "definitive object'. That is, it is the final authoritative source of what exactly the piece is and how it is to be played,. This comes from the period when publishing scores was the preeminent form of commercialisation. Once the scor

Last night I was having a few drinks with the other festival composers at the house and we got discussing notation. Tim Geller, a visiting composer from the US and I got quite deep into the question of the art of how much information to put on the page. We were talking about those moments when a performer might instinctively play the notated music differently to what is written. We both had many examples of occasions when the performer's divergence from the written markings s

Travelled down to Bermagui yesterday for the first rehearsal. What a bunch of super musicians. They made the piece sound rich and colourful and gorgeous from the very start. And by the end of the 2 hrs the piece was basically sounding like itself. A real privilege to be here having ones music played in these special circumstances. Thanks Four Winds... ​ Was especially great to have time with the musicians in person for the first time to explain the imagery and colours behind

​Tim arrived in Bermi this morning sporting a freshly minted copy of the book. Very shmick! Came out nice with the flow of the pictures and everything just right.

​There are 3 composers and a Designer sharing a house in Bermagui over the week leading up to the festival. Could really get used to this view from he back verandah.

​Tuesday was a kind of weird day. I woke up in Sydney after a fretful night sleep. Then into the car by 7 and down to Wollongong where I went to ABC studios for an interview with ABC Radio National's The Hub, arts program. Then back into the car to Bermagui for the first rehearsal of the music. Needed a bit of a quiet sit down after that haul. ​ ​ I fun interview. We talked mostly about Murray Bail's book as a source of inspiration but also what it was about how we perceive t

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