The visible and invisible notation.
When you’re dealing with sound, imagining it and creating it, notation can become extremely challenging. Music is this free creature, and when you want others to pick it up and give it life, you deal with notation. Right now, Ana Sokolović’s concerto exists in parts, a third on paper, a third scratched off and re-written hastily and unintelligibly by me, and a third is the sound of her voice that lives in my head. “Yes, yes, I’m putting notes here, but they don’t matter, the accents matter.” I don’t even want to write more, because really, you also need to actually hear her saying it.