Revelations (to me now, and to the characters later) are coming thick and fast as hailstones in a hailstorm. Or perhaps more accurately...it's like realizing that "rock" in the water is a crocodile's nostrils, and once you see that, you can begin to see more and more of the croc. Backstory is propagating as fast or faster than what's going on in the text itself.
This is the part I absolutely love, when writing meets discovery.
Why this part of this story decided to write itself to Smetana's The Bartered Bride, especially Act I, I don't know. (I don't know why the final battle scene in Victory Conditions needed Bach's Magnificat and the Vivaldi Gloria, either.) All these are energizing music for me, but why this one and not that at a given time--I dunno. Nor do I know whether the character in whose POV I've been working the past week is the one who drew out this music, or another one.
It's annoying that I've misplaced one of my CD cases, because I also need (and it's there where I can't find it) some Beethoven. I can almost-but-not-quite hear it clear enough in my head not to need the actual sound. (One of the piano sonatas, one particular movement.)