We were going to go to Salisbury yesterday to see this, but it was windy and Wensleydale wanted to get on with his plumbing, so we stayed at home.
I decided it was time to stop farting about and finish my journal/evaluation. I'd half written it, so it would only take a morning, right?
It took all day, and I only finished it today – because I wanted to add a photo of the chest on mum’s mat, and first I had to wash and iron it – and even starch it - the mat, not the chest. Obviously.
But the journal and evaluation is now written, checked by my trusty editor, and printed, despite the printer having a hiccup and printing the first two pages twice, and clipped into a folder.
Flushed with success, I added beads to my red balls, and put them in the string drawer – though you may not be able to see them… I have few more notes to add to the workbook, and then I really will be finished!
We found it incredibly moving. You can sit in the middle and listen to the music move round the individual voices, like sitting in the sea with waves breaking round you. Alternatively you can move round the speakers and hear the individual voices.
The only other sound installation I've experienced is Susan Phillipsz Turner Prize entry – and I much prefer Janet Cardiff’s work. To be fair, Spem in Alium is probably my favourite piece of music ever – and the ambience and acoustic of the Great Hall did the Cardiff piece much greater service than Tate Britain did Phillipsz. It also made you appreciate how brilliant Tallis was, to be able to write a piece of music which works so superbly in a stone walled building, and utilises the echoes so brilliantly.
We will be going back before it closes at the end of March.