At the restaurant last night, our waiter brought a cell phone to our table. He apologized for not contacting us when it was left there. It was my lost phone. Looking back at old posts I can see that I realized I didn’t have the phone after we had eaten at this restaurant. I had assumed I had lost it earlier in the day and didn’t think to check at the restaurant.
I’m still grappling with burn out. I was wondering this morning if burn out qualifies as rigidity or chaos. You may recall those two banks on the river of integration in Siegel’s metaphor. I’m thinking rigidity. At any rate, I am bothered by the navel gazing aspect of worrying about burn out. Too much focus on self. Tricky to get out of of. I meet with my therapist this morning. I’m sure we’ll discuss this.
Now it’s after lunch and I have had my appointment with Birdy, practiced and then had lunch with Eileen (followed by the ritual boggle game).
I do find myself in a better space after chatting with my therapist.
I need to ponder our conversation.
Eileen is waiting for the furnace people to arrive and give her an estimate on how much it will cost to replace our furnace.
My Scheidt arrived today. They are beautiful books and I look forward to exploring them. In the meantime I have been working on reading carefully through Bach’s BWV 682 based on the German chorale, Vater unser im Himmelreich.
Peter Williams calls this “Perhaps the most complex of all [Bach’s] organ chorales, both for composer and performer.” I have some questions about how to realize some of the dotted notes. Today I forgot my excellent Leupold edition and when I got to church pulled out my old Barenreiter edition. I noticed that the editors place some of the sixteenth notes over the third note of a triplet, seeming to suggest a little Frenchified playing (inegale). I love being able to pull the original version published in Bach’s lifetime off the web.
I haven’t checked out the measures in question yet (I left my Barenreiter score at work). But I did notice something about the published version. This composition is really an elaborate trio sonata with the chorale melody in long notes in the upper voice in the right hand and in the lower voice in the left hand. The scribe for this version made these notes very large which actually makes it a bit easier to see what is going on when you are playing. Check out the red arrows below.
I have added to my echo chamber sources of news and analysis.
Two podcasts: Pod Save America
They are unabashedly left wing and staffed with former Obama aids and NSA people. Recommended.