running through some pieces

It went well. I'm somewhat ambivalent about 'Performance Anxiety Workshop' as a title -- my real plan for performance anxiety is to play Amy in Central Park at night, so I'm used to the temperatures when I do the dawn video. - It's totally useful, though. This is very post-Covid, but also a reflection that there aren't as many guitar students as when Jane was healthy. When her and the NZGQ were at full-strength, the classical scene was very healthy, but since Covid it definitely feels like people aren't as into classical guitar as they used to be. Guitar Societies continue to chug on regardless, though. Compared to when I was a teenager attending the Christchurch Classical Guitar Society, there's definitely more interest from serious musicians in guitar music. -

I have to admit, I have very complicated feelings about Jane's legacy. It's nice that she liked me so much, but ultimately I'm not a 'pure' classical guitarist and hence I do my thing in a different way. Eg for Sultry I'm using my 'i' finger to strum for the 92bpm segments with the Bbmaj9/F chords. I reckon it has a sound that is more punchy than using my thumb. Something I picked up from bluegrass. Emmett has a proper banjo; it's part of the clawhammer sound that I stole for classical guitar. -

My thoughts about Sondheim... well, I was a massive fan of his music and lyrics, and I think I have a pretty good sense of how he thought about writing.

But, again, I'm not Sondheim. My own thing is probably a lot weirder, but he probably dug that (if he was aware of it). I reckon Mark's been in my corner the whole time, though, and that's been more useful. I'd love him to give notes on my opera, but it's not really ready for those. I'm hoping to wrap up a decent demo of the whole Shipwrecked piece this year, but it might be another year before it's ready to record. -

Plus there's all the movie-making side of me; like, Jane and Sondheim alike would have admired that, but it's me who worked it all out.

So, I'm probably a lot like Edgar Wright, or any number of indie directors. It mostly sucks to be a director, which is why most people choose more lucrative jobs. I find documentaries are a way to satisfy that yen, but there's still a few things where I'd like to direct a big-budget film: probably a period piece, to be honest. I highly doubt I'd get to direct the Shipwrecked idea, though I probably could.

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My fantasy for the preludes is to use a different player for each movement.

I really want the Shipwrecked score to be a showcase of the NZ guitar style, which isn't just me.

So, yeah, if I could get Justin and Young-Chan for electric and Mike or Chris or Owen for some of the Preludes.

I don't know the rock dudes, but I'm sure that if it's a big-budget movie then it can all be sorted.