Back home, happy with the recording sessions. Now Judy Sherman will put together her favorite edits and send the results to me and to the quartet. The five of us will each send back our complaints and wish-lists, then she’ll see how well she can accommodate everyone’s desires — one of her many strengths. My initial guess is that this next stage in the process will take about five months. Then we go to the following stage, and how long that will take is anyone’s guess.
I’m getting used to people asking me after a premiere where they can get a recording of the piece they just heard. I used to find this question stupefying – we just played the piece for the first time and you want a recording already? Do you have any idea what an enormous process that is? Unless, of course, you take shortcuts, which I’m not inclined to take, since I’ve learned that the quality of your recordings has a huge impact on how your music is perceived, and that it is crucial for everyone involved to feel good about the results.
But I’m understanding the question better and better. In the last few years, the speed at which things become available – objects, images, ideas – has increased dramatically. Oddly enough, though, we aren’t as impressed with how quickly our wishes are fulfilled as we are surprised at how long it can still take to get most things. As speedy as our technology has become, it still hasn’t outstripped what we imagine should be possible. And not just what we imagine, what we increasingly insist on.
I’m probably as guilty of this as anyone.