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  1. Four more sections recorded, including Vater unser, which we knew would be difficult, mainly because of tempo. It’s a long piece (nine verses), and although I mix the ensemble up to keep changing the landscape, it’s still a lot of music to get through. The choral harmonies are very rich, which makes us want to slow it down. The solo verses want to move faster. Donald finds an excellent tempo, and the choir produces a lightness of expression that just nails it. It’s just slightly faster than at the premiere, but with some elasticity.
  2. So much comes down to tempo, and what’s perfect one time is perfect only for that time
  3. Instruments sound fantastic
  4. This is a very nice space for recording, St. Peter’s Church in the Great Valley. The voices and instruments have a natural bloom here, don’t have to fight for anything. It’s an easy sound, although finding the right placement of the performers takes some time.
  5. Magnificat is recorded, and we make one last adjustment to the harp at the end. The Gloria Patri comes out of left field, and the coda comes out of the left field of left field. Wickedly fast, everyone wants to laugh when it’s over. I was thinking the Magnificat is the song of quite a young girl, and while all of it is innocent, the ending is just plain giddy.
  6. We capture the hymn Herr Christ, as the singers make magic. This is where they are one to a part in the third verse—16 voices—and they are strong and expressive as can be. This is a special piece. Donald and The Crossing are special musicians.
  7. Priscilla and I run off during dinner break to a Chinese / Japanese / Thai restaurant in a shopping mall. Not bad. There are Chinese / Japanese / Thai restaurants?
  8. Such a treat to see my daughter!
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