Following desire for more critical words in the president's passional mourning address; following the Scharoun Ensemble's performance of lyrical wendings by John Dowland, Huck Hodge, and Dadaist Stefan Wolpe (1929 Musik für Hamlet, likely a soundtrack to Hamlet's masque within the play),
all taking up poetry,
continually curiouser about the braiding of individualities within collective structures in music:
like the motion of disparately recorded voices united in space via Janet Cardiff's Forty Part Motet at the Arsenal, Fall, ellipse recalling, likely by happy accident, Venetian origins of publishing free-weaving melodies en masse via Ottaviano Petrucci's press: polyphony, at the turn of the sixteenth century, become more multifoliate as it reached so many potential voices, hands.
Given that Spem in alium was projected for an octagon of ground-floor and balcony choirs of five at Nonsuch Palace, fantasizing polyphonies for virtual, battered, or post-virtuousic locales, stray deities of nymphaea honoring liminal oil puddles of one's actual yore to amplify our sense of distances.