Somewhere in my music cabinet I might find them. I kept them because several I had never played before – a set of pieces for solo flute, perhaps a half dozen, ranging from
Syrinx, to Varese's Density 21.5, all choreographed for a small group of dancers. I had to learn the music and rehearse with the dancers, all within the space of about ten days. I drew little pictures all over the music to help me remember what kind of cue I was taking –
when to start, when to wait. Every tempo was fixed, but there were places where things could go freely. I could not watch the dancers carefully because I had to read the music, but they were so close to me, moving all around me, I could always feel them moving. I could take in their energy like a plant. I had never been so close to dancers before. I couldn't get used to them lying on the floor, always stretching, like a family of large sleepy dogs.
When the performance began, a solo dancer moved on to the stage next to me for Debussy's Syrinx. I almost dropped my flute. She did not tell me she would be naked.