Composer's note on Lotus Pond Fantasia

Last Saturday I was sitting at a coffee table at the fitness club waiting for my training session; my early morning improvision brought me an audio file in my phone, so that I listened to the file again and again, writing down the notes on the manuscript. Having a headache, I was so annoyed by the loud voice of the guy who was talking on the phone in the hall way. The audio was supposed to be in the section of the waterdrop dance on the large lotus leave. It was not very good. I thought. Nothing sounds good when you have a splitting headache. How can I stop getting sick???

Having prolonged headache, I struggled to watch an inspiring movie on Tuesday: Geninus. Surprisingly inspiring! It is so right that a polished work relies on sticking with the core idea throughout. Form! That is why form is important. Decisions on themes, variations of themes and transition make up a work.

To me folk tunes are much more effortless and accessible, compared to major-minor tonality. Melodic lines like Chopin are impossible to mimic. Debussy and Faure are much more friendly to me. Seeking materials and rhythmic devices for my work, I lately realized that for years what Chopin had haunted me was his ever love-provoking melody lines that made me indulge in the sorrows. However, Debussy's break free from practical period's tonality frame to explore freedom and variety in tonality, seeking greatness and mystery in nature moved me much more! Isn't the mood in Chopin too confined to personal emotions?