22 June 2017

From 2014 to 2017

2014 was the summer of “rescuing” the numbers already composed for my ballet-in-progress (with the frank acknowledgment, Gentle Reader, that when the pace is that slow, there is bounteous generosity in the word progress) from the enchanted cavern of Finale files which I could no longer manage. Three years ago today, I was finishing the then-new Sibelius edition of the Overture to White Nights. The summer solstice is, in fact, the time of year most apt to the task.

At times a mostly-idle thought crosses my mind: what if the Overture to the ballet ought, in fact, to be a shorter piece?  The complete ballet sans Overture will run a bit more than two hours.  My first thought, back in 2003 (!) when I first schemed the project, was that, if the audience are ready for an evening at the ballet, an 11-minute Overture is not madness.  But what if that is just wrong?

The Overture, as it is, will not stand abridgement;  should I compose a new one?  But, as it is, I like the Overture, I'm proud to own it.  I shan’t discard the piece, nor pretend that I wrote it for any occasion except to inaugurate the ballet.

Perhaps I should “go Lenore,” and write an alternative Overture, and leave the choice of which to use, to the conductor (or to those to whom the conductor answers, or whom the conductor advises)?

Well, the questions circle, slowly.  It is not any matter I need to settle, this side of actually finishing the ballet.

Which will be finished.  This year, if I can manage it.

1 comment:

Cato said...

The overture to Taneyev's The Oresteia runs 18 minutes or so, for an opera lasting under three hours, so in proportion, I would say 11 minutes is just fine! :)