As the first two scenes were being created, I was concurrently working on material for use within the Quiet Holy Communion service.
The pieces were created following a practice I have been using since 2007: Recording material with my Mustel Harmonium, editing that material into moments, then layering selected of those into kaleidoscopic patterns.
This editing process occurred in the same room where the two scenes were realised.
The pieces were never finished. I found working on them a chore. Pieces the previous year had found a similar fate.
During February and March 2026 I went through the moment material contemplating the scenes. There were many phrases and harmonies that I had not noticed last year. New connections were made where new harmonic and melodic patterns were formed.
I felt free to treat the material in new ways.
Temporal and sonic commonality constraints that existed for liturgical reasons were no longer present. As a result the new pieces feel more concise and varied.
Using the moment material was a way of connecting with the scenes in a tangible way. The moments were created contemporaneously with the scenes.The new pieces were therefore created out of material from that time.
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