Pedro, Jeremy, and I conduct what feels like a worldwide search for a dulcimer that suits the piece. No luck. We’ll have to use the same instrument used by Lenny in Christchurch (with tuner on permanent standby).

Jeremy’s been wonderfully proactive putting the percussion together for Pedro. The more I observe someone (Jeremy) trying to assemble this disparate and extravagant array of instruments, the more I wonder at my own lack of pragmatism.

As we lead up to the VFO sessions I wonder at Pedro’s sense of the work, not having performed it on stage like Michael and Marc. But Pedro has a truly awesome technique and musicality. I know he’ll rise to the occasion.

Pedro arrives – looks like Atlas with the world on his shoulders (played me the crazy marimba part from 1st movement – felt a great sense of relief).

Anxious about my role as producer. Would I hear things going awry? Would I be confident enough to demand more retakes? Met Keith Warren (felt a great sense of relief).  Meet the RNZ crew, (felt a great sense of relief).

Michael and Pedro in ACR – very encouraging. Pedro revealed his intention to use four mallets on the toms and cymbals (instead of drumsticks). Keep an open mind John…….

Pedro most stressed about his dulcimer solo. The dulcimer tuning looks completely anti-intuitive (I don’t think it’s the standard tuning for dulcimers – but the (excellent) tuner is Swiss, tuning a dulcimer made in Christchurch, being played by a Portugese. Poor Pedro, as if he isn’t suffering enough.

Opted for three metal objects instead of simtak, Pedro brought his best, shiniest (sponsored!) cymbals, and the one I preferred (much to his consternation) was gifted to Pedro by a jazz drummer who played in a 1950s New York whorehouse. Perfect sound.

Pack in at MFC. Greatly encouraged by the sense of buy-in to the project, particularly from RNZ, Rattle, and the NZSO percussion section. Felt a great sense of relief.

Sectional rehearsal – percussion, harp, piano solo, perc solo.

Harp struggling (too many notes!), now have two harpists that will alternate.

Decided on final tempi. Compared to my original tempo marks I can only wonder “what was I thinking?”.

Morning session. Moment of fear speaking after the first take. But it felt comfortable, like I knew what I was doing. From then on and with great and wonderfully timed advice from Keith Warren I started to really enjoy the producing role. Got great feedback from Keith and the NZSO (asking me to put cotton wool in my ears for hearing too much).

Pedro dealt with (extreme) stress phenomenally (moving from vibes, to ‘simtak’, to steel drums, to marimba, to drums etc) – a truckful of instruments each with its own playing technique. Kind of stress that causes rashes and eczema.

Michael Houstoun a rock, a pillar around which we built the performance. Take after take after take, he’s right on target. Must have a lot of Zen.

Recorded most of 1st movement. Orchestra rocked! Such a solid sound and cohesive rhythm. Low brass incredibly grounded, woodwind consistently brilliant.

Didn’t spend time on the 1st movement cadenza. Planning to record these without the orchestra tomorrow afternoon.

Afternoon session. Finished 1st movement and recorded the 2nd (leaving out duet opening – to record tomorrow without orchestra).

Morning session. Recorded mvmt 3. During the break Steve G innocuously announces one of the drum mics wasn’t switched on during the mornings takes. No point in any negative reaction, quickly worked out what we needed to retake and immediately started to worry about the trumpet sections lips. Hard, high, and loud playing – and I had to push for retakes even with Marc Taddei saying quietly “they’re getting tired John”.

Brass attitude was admirable, committed. I’m very grateful.

Carla and my good friend David Crossan came through for a while. Took particular pleasure in being to share yet another milestone with them both.

Decided to choose a particular take then and there so that Pedro could overdub his dulcimer solo later that day. Right decision as it turns out.

Finally got what I wanted of the 3rd movement. Pretty stressful session (having to push the orchestra into a fatigued state) but heard no complaints. Along with the Halle, this is the best orchestra I’ve worked with.

Afternoon session. Recorded cadenza in first movement, and opening to 2nd movement (here Pedro and Michael entered a sublime state and the merging of the two instruments into one (piano and vibes) actually happened!). Then recorded some drum and chimes samples in case we needed to beef anything up later.

I’ve never seen a man shed his worries as much as when Pedro realized he’d nailed the 2nd dulcimer solo. I’m sure he felt a great sense of relief.

Marc T, Michael, and Pedro were consistently brilliant. All three a privilege to work with.

Left the computer in the MFC backing up files and headed for the brewery with the best section in the orchestra to drink with…...

That night a great meal at Maria Pia’s!

Now some three hundred takes to pore over in preparation for editing. Hopefully Steve G will take some time before sending me the discs.

Met with Wellington mayor Kerry Prendergast to talk about WCC support.  Great meeting, ended absolutely positively.

Had to put off working through takes (knowing there’ll be a lot more stress further down the track). Couldn’t stand taking time away from my parents and sister while they were visiting NZ.