Woke up in a terrible mood again today. At this juncture, though, I recognize that it is what it is, and it will pass. We’ve been around this block before. It’s easier to cope if you can say, “Just hold on for a minute; this, too, will pass.”
I did, however, actually get some sleep last night (better living through chemistry, heh), which should help.
At any rate, something spurred me to get back to work on Simon Crane, so I’ve been gathering a possible selection of music and stringing it all together in a playlist in order to determine whether or not it’s musically coherent. I don’t think I’m ever going to be the kind of choreographer who goes in for an incoherent score, as much as I suppose that could be a useful theatrical device.
This whole process makes me very grateful both for the exposure my parents gave me to good music (literally from before I was born) and for my formal musical training. It helps to know about things like relative keys, and so forth, and to possess at least a basic understanding of stylistic epochs within classical music.
At the moment, the score for Simon Crane begins with piano works by Satie, then transitions in the second act to orchestral works by Ravel (the famous “Bolero,” with a bit of choreographic homage to Béjart, because I think it would be an insult not to acknowledge his “Bolero”) possibly followed by either Saint-Saëns (‘Cello Concerto No. 1) or Vaughan Williams (Oboe Concerto).
The Saint-Saëns is quite difficult to play, evidently, which might be problematic, but a listen-through last night suggested some real choreographic possibilities. The overall arc of the piece rather nicely fits the part of the story that I’m trying to set.
I haven’t listened to the whole of the Vaughan Williams yet, so I have no idea if it’ll really work at all. I just happen to love Vaughan Williams, and the feeling of a lot of his music would fit the overall mood of the ballet pretty well, I think—though, ironically, Vaughan Williams might not be a good fit for the second act. Act II is distinctly urban in tone, while Vaughan Williams frequently evokes the English countryside. We’ll see how it goes.
Regardless, I haven’t listened to “Bolero” with either of the other two pieces yet, so that’s on my agenda for today while I’m finishing up some really boring yard work. It’s possible that neither will actually be a good fit and that I’ll have to find something else. Thank goodness for the sheer profligacy with which the Romantic and Impressionistic composers as a whole deployed their musical gifts!
The final act begins with Rachmaninoff’s “Isle of the Dead;” I think it may, in fact, stick with Rachmaninoff all the way through the final act, though that may or may not make every dancer who ever gets saddled with this thing hate me. I don’t know. I quite like dancing to Rachmaninoff, to be honest.
I’m debating whether or not some of this plan entirely works: not so much the use of the two long transitional pieces (“Bolero” and “Isle of the Dead,” both of which practically constitute entire acts in themselves from a storytelling perspective) as whether I’ve worked out an effective transition from Satie’s spare piano works to the lush Romantic orchestral works that follow. Right now, Act I ends with Satie, and Act II begins with “Bolero,” the opening of which is very far-off and spare.
I still have no idea how one, having conceived an entire ballet on this particular scale, goes about trying it out on actual dancers and eventually setting it if one doesn’t already happen to have access to an entire ballet company.
I do think I should be able to set bits of it, however. In particular, the opening scene from Act II, in particular, seems like it’s pretty amenable to performance as a standalone piece, perhaps with some small modifications.
Regardless, I sometimes find myself wishing that I had the slightest sense of how to compose for ballet, or at least for this ballet. Part of it is that I don’t feel like I compose well enough to create an original score for Simon Crane—if there’s one thing that drives me crazy about a lot of the great classical ballets, it’s that their scores are at best trite and at worst practically unlistenable. One accepts them because the dances that go with them are sublimely beautiful, but finds them irritating in the absence of dancers.
- I could see setting dances to some of the music I’ve written, but not this ballet.
I don’t want to beget yet another such score. I’d rather borrow music written by people who knew what they were about and be done with it.
Besides, Simon Crane began with a small piece set to one of Satie’s “Gymnopedies,” and I kind of think that you have to honor your muses. Apparently Terpsichore didn’t see fit to issue me a ballet with original music.
That’s fine. If she had, knowing me, I would probably never actually finish the damned thing.
Update: Having just listened through the Ravel-Vaughan Williams-Rachmaninoff option, I’m pretty sure that the Vaughan Williams is probably not “it.” The transition from “Bolero” to the Oboe Concerto is really quite nice, but I’m not sure that the Oboe Concerto A) fits the moon and B) won’t be a complete nightmare to choreograph, set, learn, and/or dance.
Going to listen to the Ravel-Saint Saëns-Rachmaninoff option now…
Further update: I’m listening to Grieg’s A Minor ‘Cello Sonata, and while it steps back from the complex orchestration of Ravel’s “Bolero,” as it’s written for ‘cello and piano, it might actually be a good fit, as well. Even if I don’t use it for Act II, I should keep it in mind for Act III, assuming that the rest of it fits. I’m only halfway through the first movement.