"Hi Romano ... if you recall I am the guy who came up to you after your concert at 505 and asked whether you would be interested in writing a piece for guitar. What I am looking for is a major piece i.e. sonata in at least 3 movements. At least one of the movements should be technically challenging. All of Bach's solo violin works work well on the guitar so think of it as writing for the violin if you like. Please confirm whether you are still interested. Pxxxx”

(Text received: 15th September, 2015)

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…. and so came about a welcome opportunity; I was excited at being able  to write something completely new, and out of my usual mini-genre-mindset (that is, string duos, quartets, strings, string fucking quartets, double string quartets, etc, etc)

 

As it turned out, however, this individual was either a compulsive liar or a manipulator. Once the process was underway, and it was time to workshop the ideas, (crucial to a composer writing for an instrument with which they do not have an intimate working knowledge) he started stalling and evading over a period of months, then stopped responding altogether. When I did finally get onto him, he wrote back a truly bizarre and shameless set of lies in formal legalese, (not surprising, he was in fact a lawyer). In the end, painful as it was, I  was forced to conclude he was simply just an arse-wipe! Let him (Peter D/lawyer and would-be amateur guitarist) be remembered as such.

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But, just as a lotus of serene, breathtaking beauty and perfection arises out of the dank depths of the swamp, so too it would seem, another work for guitar enters the repertoire. In the vastness of time, the 'unique' circumstances involved in its creation, will, even for me, be of no consequence..... all will be forgotten...........

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Let me thank Robert Clancy and Philip Griffin for their invaluable time, and suggestions prior to me actually doing a final revision/edit of this work.

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Romano Crivici

Enmore, Sydney

25th June, 2018

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