Dream One, no such luck

So yesterday I figured out multiple accompaniments to the “bridge section” of Icarus’s first dream aria, none of which worked.  My gut feeling is that it needs to be some kind of melodic adaptation of that bass line at the beginning of the aria, with Icarus just kind of doing that opera singer skating above it all thing, but working that out is bothersome.  I may skip to the next scene, which is going to be even more of an issue, and get started being stymied there.

Or I may skip to the end of this aria and write that, then connect the dots.

Decisions, decisions…

update:

I skipped to the end.  It was cheating, because I planned to use the “Flying in the sky” motive as the basis for Icarus’s ecstatic cries of “My father! My flying! […] My wings!” anyway.  So all I had to was copy and paste the accompaniment, add in some notes to suggest the final orchestration of Icarus’s melodic line from the first passage, then give Icky—no, really, that’s what Scott has Daedalus nicknaming his son—new notes for his new words.  Probably hackneyed.  We’ll see.  I’m not posting it yet.

Still stuck on the middle.

Dream One, “I am alone”

I’m making real headway on this, but I’m at a point where it’s now just grinding out what I know has to be on the page for the bridge bits, so I’m going to go ahead and post what I’ve got so far.

You will hear the basic building blocks for the rest of the aria: the plaintive “I am alone” motif; the accompanying cello line for that; the sincere “Flying in the sky” motif; the wistful “Aloft on pinions” motif.  Expect them to return as signposts.  (At the end of this version, you can hear the cello line making its entrance for a sustained run, over which Icarus will sing what I’m calling the “bridge” text.)

Something I didn’t talk about yesterday was the issue of sixteenth notes.  We’ve been slammed with them from the opening, nearly six minutes of them, and so it was really critical to back off for a while.  But an aria about flying without whirling sixteenths or sextuplets?  What to do, what to do…  I think you will be pleased with the solution.

Dream One, “I am alone” | score (pdf) | mp3

Dream One, “I am alone”

Yesterday and today I worked on one of the main phrases of Icarus’s first dream aria.

A little background: Scott’s text for this aria is nowhere metrical, but it does have three repeating elements:

  1. “I am alone” bits
  2. “I am flying in the sky” bits
  3. “Aloft on pinions/ Of hope and magic” bits

Part of the puzzle for me as a composer, therefore, is to make sure that whatever I come up with for one of these bits will bear repeating in a meaningful (and hopefully increasingly meaningful) way.  For the past two days I’ve been churning out crap—that’s the technical term—seeing if I could come up with something for the “I am flying in the sky” theme.  I started using the moving bass line from “I am alone” as a basis, but none of those attempts really grabbed me.

So when an approach isn’t working, go for the opposite approach.  Just drop your baggage and head in the other direction.  One of two things will happen: you will find an answer, or something you’ve written already will make more sense.

This time, I think it worked.  I won’t post the results today; I want to crack the “Aloft on pinions” puzzle before I post the next version of this aria.  But I will say that the transition from the “I am alone” recitative into “I am flying in the sky” really works.

P.S. to Scott: We are not giving a tenor the line “In my singular solar solipsism.”  That’s just daring the audience not to giggle at his lisp.

update: Just to double-check some harmonies, I switched the voicing on the piano score to French horn and strings.  Oh my.  Y’all are in for a treat.

Back to work

I’ve been out of town at a wedding in Galveston, TX, a mostly harmless resort town along the lines of Panama City Beach or Myrtle Beach, so I haven’t been able to work or to blog.  In fact, I’m procrastinating getting started again on Icarus’s first dream aria…

To make up for the lost blogging, here’s a drink recipe.

My friends the Honeas gave me for my birthday a nice little liqueur called  The King’s Ginger, and it wasn’t hard to come up with something delicious.

It doesn’t have a name.

Unnamed Ginger Cocktail

1 oz Karlsson’s Gold vodka

1 oz King’s Ginger

1/4 – 1/2 oz fresh lemon juice

That’s it.  Very very simple, but you have to use the named liquors: the Karlsson’s Gold has this sweet earthy flavor that mixes perfectly with the ginger.

Also too: remember the “labyrinth tone row”?

One thing I’m going to play with today is inverted and retrograde versions.  Because why not?

Dream One, “I am alone”

Here’s our first look at our hero, Icarus.

After the Baroque splendors of the adoring crowds and the glories of his father’s pride, Icarus finds himself alone in his trajectory.

As a side note, I keep thinking of that Red Bull stunt of a couple years back, where Felix Baumgartner dove from the edge of the stratosphere.  (Cool video here.)  Of course, Icarus is kind of like a reverse Baumgartner: lots of telemetry/assistance going up—only with no suit, of course—but not so much coming down.

Anyway, musically speakingwise, after five minutes of nearly solid sixteenth notes in the opening, it’s time for a break.  We get a still, quiet statement of the first five notes of the labyrinth tone row, and then Icarus begins the first of his seven arias in this opera.  The entire thing will be about five minutes long by my roughest estimation, and no, it’s not going to stay this quiet and slow.  In fact, in the very next section we’ll get more movement as Icarus meditates on his relationship to flying and his father.

Dream One, “I am alone” (05/15/14) | score (pdf) | mp3

Note: there are some staccato markings in Icarus’s part that are there just to separate the notes in the recording.  They will be omitted in the actual score.

Dream One: Ariadne’s trashy mom

I am a little concerned that work on Seven Dreams of Falling continues to be in the 2-3 range of the LSCA, but take it and run, I always say.

Today’s work is from the middle of the fourth section, “Hark, the sound of screaming fans,” in which we’re in the control center for the Event.  It’s a bit of exposition, filling us in on the background of the overall myth.

For those who don’t know the whole slutty story, Pasiphaë is the wife of Minos, king of Crete, and Ariadne’s mother.  (She is also the daughter of Helios, the sun, which is cool but not relevant to our story.)  She managed to offend Poseidon, who sent a fabulous bull to Minos and then cursed Pasiphaë so that she was consumed by lust for the animal.  She forced Daedalus to build her a sex sling that looked like a cow so that she could lure the beast to her.

The result was that she gave birth to Asterion (“starlike”), otherwise known as The Minotaur.  Daedalus was then coerced into designing and building the labyrinth to hide the Minotaur from the outside world.

So that is the exposition Ariadne sings for us in today’s work:

Dream One, “My mother” (05/14/14) | score (pdf) | mp3

Ariadne herself has issues, needless to say.  (So, mezzo it is.)

Another appearance of the labyrinth tone row at m. 13.

I would like to point out how not comfortably diatonic this passage is, thank you very much.  As a self-taught composer, I am sensitive to the charge that purely tonal music is a) too easy; and b) unsophisticated, so the fact that the first five minutes of the opera just wallows in “pretty” music had me worried that it was dismissible.  (Not to worry: I quite like my opening.)

Dream One, “Let us joyfully gaze”

I’ll be honest: this is the fifth version of this opening number that I have written, and I’m still not sure this is it.  However, as Frank Gehry always says, let’s let it sit there and annoy us for a while.

After whatever I work out for the plunging motif, we are presented with the chorus.  As it says in the libretto: The Event is on.  Observers attend the moment in amazement and delight.

A brassy Baroque anthem launches right out of the gate, and the chorus sings.  It’s all extremely standard harmony, except for their paean to Apollo, the bass line of which is the labyrinth 12-tone row.1

At the very end, you can hear the Zadok-arpeggios beginning, and in performance we would head straight into Daedalus’s “Fly and fall.”

“Let us joyfully gaze” | score (pdf) | mp3

—————

1 I promise it gets more “modern” with Icarus’s first dream aria, right after “Fly and fall.”

Random items

No work on Seven Dreams today, but I have to mention how much fun Scott Wilkerson’s text is to work with!  It bodes well for the enterprise.  (It also bodes well that he has not complained or even mentioned that I cut about six lines from the “Fly and fall” text…)

A couple of weeks ago a bunch of us were sitting by the fire out in the labyrinth and there was a rustling behind us up on the patio level.  I assumed it was one of the small set of feral cats that flit in and out of our lives, but when we turned to look it was a fully grown raccoon ambling across the yard.

“Oh hai,” it said, apparently surprised that four or five adult humans were sitting by a fire fifteen feet away, and fled.

Since a rabid raccoon had been picked up in the city recently, it was determined by some of our company that I should call the Animal Warden and have her set a trap.  I pointed out that the animal appeared to be perfectly healthy—if a bit absent-minded—and I was loath to depredate the biome like that.

But I did as I was told, and on Monday afternoon I went out to the labyrinth to read and write some letters, and there was a trap in the southwestern corner of the labyrinth.  There was also a cat in it.

It was of course not the one feral cat we’d like to trap and neuter.  This was a youngish feline, one I had not seen before, reddish shorthair, slightly Abyssinian in its aspect.  It was not happy to see me, although it was willing to sit peaceably as long as I didn’t get too close.

This was a dilemma.  I formed the opinion that this was someone’s pet—it didn’t have the clipped ear of a neutered-and-released animal— and I was very unwilling to turn it over the Warden.  What to do?

Fortunately for all of us—myself, the Warden, and the cat—late that night, after the Lichtenbergians had left and I had just finished walking the labyrinth, I heard in the distance a woman calling her kitty—and the animal in question answered most piteously.  It wanted to go home.

So that was that.  I got my glasses and the phone (for a flashlight) and opened the trap.  The cat streaked out of the labyrinth, over every intervening fence in its way, and was gone.  Freedom!

I called the Animal Warden—the fabulous Cyndi Hoffman—and left a message explaining why she would find the trap sprung but empty.  Late this morning (Wednesday) I thought I should check to see if we had caught any more cats.

We had not:

rocky

Adorable, isn’t he/she?  Except when you approach the cage and it snaps at you.  It was willing to sniff at a proffered knuckle, but then snapped at that, too.  It did, however, eat the kitty treats I dropped in there, while Monday’s cat would not lower herself to eat such stuff.  Well, they were old.  This disdain of stale kitty bits was another reason I thought she was someone’s pet.   Wild carnivores are not so picky.

Soon, Warden Hoffman arrived and, after I made sure it was not a nursing mother, took the beast away to relocate its adorable ass.

I would like to state for the record that I have no objection at all to peaceful coexistence with wild life, even curious things like raccoons who tend to turn things over and misplace items in the labyrinth when I’m not looking.  But I did as I was instructed and must assume that all is right with the world again.

I did work on “Your Beauty” this morning and I think I’ve made a lot of progress.  We’ll see.  I’m not posting it because you’ve heard the pretty part already, and the part I’m working on now is so inchoate that hearing the computer version would make no sense at all.  I’m pretty sure Finale will let you at some point tell it exactly how/when/how much to speed up a beat, but I’ve never done it.  So before you hear the whole piece—once it’s finished—I will have to explore that.  Otherwise, it’s this stream of stupid-sounding eighth notes that just plop along.  It really needs human interpretation.

Seven Dreams: Dream One, “Fly and Fall”

Well, there’s one small part of Seven Dreams of Falling completed: Daedalus’s first number, “Fly and Fall.”

As you will recall—and if you don’t, go back and read the previous couple of posts—Daedalus is setting forth the idea that the annual Event, i.e., Icarus’s flight and fall, is a ritual both good and necessary.  It is “the story of us all,” as all good myth should be.

Some slight changes in the main body, but unless you were bugged by something and want to go back to hear if I fixed it, you can pick up the mp3 at 2:30 to hear the changed cadence from yesterday (as promised) and the thrilling conclusion of the section.

I will say that I have now done to Daedalus what I have issues with in many modern operas: there’s not a place for the audience to applaud.  The piece ends softly and will segue into Icarus himself, “Dream One,” so no applause for poor Daedalus.  I’ll make it up to him later in the opera.  After all, Icarus gets seven arias.

Dream One, “Fly and Fall” | score (pdf) | mp3

I have to say that I think this is pretty good stuff.  Here’s a slammed together idea of what I think is going on onstage:

I’ve also started a page for Seven Dreams so we can keep up with finished music.

update: I have a proposed solution to the applause problem: just bring the chorus back in for one more big “Fly and fall!” and wrap it up with a stinger.  We can come back in after the applause as the spotlight focuses on Icarus for his aria.  Compare the last 10 seconds of the above mp3 to this:

“Fly and fall” applause ending: score (pdf) | mp3

Express your preference in comments.