This week I’m working on my Richard III project for next week’s author conference in New York for the OUP Handbook for Music & Disability, and back on Talma chapter 4.
For the New York conference, I’ll be presenting my research on the Walton score for Olivier’s film adaptation of the play. Originally I had included material on the Loncraine/Mckellen adaptation as well, but I think that focusing on just one film, at this juncture, will easily fill up the words I’m allowed and will present a more tightly constructed chapter in the end. So I’m revising some as I got.
For Talma chapter 4, I need to analyze two movements of her oratorio The Divine Flame and one or two of the songs from the period I’m writing about, which is mostly the 40s and early 50s. Then it’s on to serialism and the string quartet in the mid-50s. There will be three more chapters after the one on serialism: the one on The Alcestiad is essentially complete, and then I’ll have two more to write by my October deadline. I’m pretty much on schedule.