As I recorded in my blog:
As I worked on
Nuhro with its drones, pedal-tones (or pedal-intervals), and unhurried tread, I paid close attention to the pacing, I made a point in the unfolding design of varying both textures, and centers of registral gravity. I labored over it all the more, as the pitch-center is relatively constant through the piece (one of the factors of relative stasis). I wanted the piece to be
beautiful, and I was eager that it should in no way be
dull.
When at last, I reached the end, and I thought and reconsidered and wondered if it really were done, if there really remained nothing which I ought in good musical conscience to adjust or improve, it was August, and my wife asked me if I did not want to go to the beach. I certainly did. The final stage of composing
Nuhro, of weighing the question whether it really were done, was the composer wading out calmly into the surf, and replaying the nascent piece in his inner ear, and feeling a profound harmony between his outer and interior experiences.
It was on the sands of Cape Anne, that I knew I had written what was probably the best music I had made to that point.
https://www.youtube.com/v/r2vn2PB_-9g