Souvenirs

Slices of Slovenia

Over the weekend we rode out the rest of the Budapest heat wave in an idyllic town (village? jury’s out.) in Slovenia, where my old friend, conductor Steven Loy has lived for the past ten years. It’s a heavenly place, particularly after two 100-degree weeks in one of Budapest’s more polluted and noisy districts.

We Should Be In Slovenia By Now

Here’s a lovely excerpt from today’s weather forecast for Budapest:

Today: Abundant sunshine. High 103F. Winds W at 5 to 10 mph.
Tomorrow: Generally sunny. High 103F. Winds SSE at 5 to 10 mph.
Saturday: Sunny. Highs 99 to 103F and lows in the upper 60s.

So, basically, it’s hot. Too hot to enjoy anything. Right now it’s unbearable in the shade, and torture in the sun. Most people here seem to be taking it in their stride, but I live in San Francisco, where I’m very happy because it rarely goes above 75 degrees.

We’re going to Slovenia for a few days to visit this guy. It’s also hot there, but there’s more natural splendor.

We were supposed to go yesterday, but we missed the train. It’s so embarrassing I thought it would be a good thing to blog about. I’m hard-wired to think like a 25-year-old when I’m here, I guess, so I thought it would be nothing to take a bus and two Metro lines. The combination of traveling with a 4-year-old and the Hadean weather made that a really stupid idea.

They have taxis here.

Fortunately, Budapest has a number of places like this, where we spent yesterday afternoon, after the whole, you know, “train” thing.

This and That

It’s been a while since I’ve had anything to blog about, so I thought I’d just check in, in case anyone’s still reading this.

Later today I’m shlepping my family to Budapest for three weeks of fun, cake and eccentric conveyances. Someone recently asked if this trip has anything to do with my turning 40. I hadn’t made the connection, but since then my explanation as to why we’re going has been “mid-life crisis”. I can’t afford a motorcycle. And they scare me.

As of yesterday, a new draft of the libretto for Eros at Breakfast is complete. As lyricist, I’ve been the one holding it up. Contact me privately if you’re a theater person and would like to read it. It’s been interesting: I’ve discovered that one of the nice things about doing my own lyrics is that a big part of the composing takes place at the same time. I get rhythms in my head, and can sort of already hear the music in most cases. So I hope that will mean that the composing part will go quickly. (Yeah, right.)

The new CD containing my clarinet/piano piece American Standard has been out in the U.K. for a while and is inching toward release in the U.S. Amazon says it will by July 24th. Meanwhile, it’s now showing up (at a better price) for order direct from the distributor Qualiton. Also, I’m trying something new and have made the score and part of the piece available through the nifty distribution service from Subito Music.

Maybe I’ll do some blogging from Budapest. We’ll see.

Let’s Start at the End

So I just connected a dusty old hard drive to my shiny new Mac, and found some things I ought to share here.

For starters, here’s my favorite cue from a film score I did a few years ago. This is the very end of Shakespeare’s Merchant. I can’t give you a whole synopsis of The Merchant of Venice here, but for this cue it helps to know that in our version, Antonio is in love with Bassanio. Bassanio has just pledged fidelity to his wife Portia, and that sucks for Antionio. In the second half of the cue, we see Shylock, having been rendered penniless and yarmulke-less due to a court-ordered punishment for his crediting practices. I love the way this cue came together for a lot of reasons.

I will sheepishly mention that this score is an electronic rendering of what is/was hoped to be recorded properly. Also, due to the rather severe letterboxing, I recommend the “full screen” option, which is the square icon to the right of the timeline.

By the way, the this score is available from CD Baby, iTunes and Amazon.

Back to the Trunk: “Welcome Home”

Time to roll out another song from The Ghost of Wu.

Composed in the summer or fall of 2002, Welcome Home is probably my favorite song from Wu; certainly the one I’m most proud of for both music and lyrics. It’s an ensemble number for womens chorus.

Following a tumultuous journey from her village to the Emperor’s court, Wu is met by gentle chorus of concubines welcoming her into the Emperor’s harem. During the course of the song, they transform her from a simple country girl into an elegant member of their circle.

Approaching the Harp

In advance of the upcoming premiere of his harp concerto, Mark Adamo (seen below in a recent photo, pre-haircut) has written a fascinating description of the challenges involved in writing such a thing, and how he approached it. How do you get beyond the clichés and build something where the harp isn’t just adding some attack to the clarinets or providing noodledy-noodley filigree? How can the harp “own” the material?

Sneak Peak: A scene from EROS AT BREAKFAST

As mentioned in my last post, the opening song from Eros at Breakfast was performed a couple of weeks ago, launching what I hope will be a series of similar informal performances as the pieces start coming together.

It has occurred to me that it’s relatively easy to also document this work-in-progress on video, and so we got back together over the weekend to shoot this scene for that purpose. The result is a very tight, energetic and musically accurate performance. On the other hand, this particular scene calls for a lot going on onstage, and all we have is our main character (the only one who actually sings here), so you need to use your imagination to some degree.

Thanks again to Loren Nordlund, praised in my last post, and to wonder-pianist Jennifer Peringer, who, it turns out, has five hands.

Without further ado, please have a look at “Routine”. Video and a very brief synopsis are on a dedicated page.

Actors’ Tiny Decisions

Last year I wrote a little something about the relationship between dramatic composing and acting. I just had a great experience working with an actor, so now there’s more to say. I’m reminded that, in writing a musical theater piece, you’re never going to be “finished” until you involve actors in the process.

Every so often, a non-musical friend will hear something in a piece of mine, and say, “Oh, I like that. Was that your idea?”. Of course it was my idea! Every tiny detail is a decision. The same is true of acting, although I’m sure even fewer people realize it. Most people probably don’t really appreciate the craft of acting. You may enjoy a performance and be moved by it, but do you ever think about how they do it? It’s really hard work, and good actors make it look easy.

On Sunday we gave an informal performance of the opening song from Eros at Breakfast. I had expected it to be just a rough read-through, but it turned out to be a thoroughly thought-out performance — off book — by San Francisco actor Loren Nordlund.

Loren came to our first meeting having studied the score and analyzed the lyrics, and said, “OK. Here’s how I’d like to do it.” He immediately picked up on the sort of bizarre, Dr. Seuss-like aesthetic we’re going for, and brought a slew of interesting elements to the character, including some costume ideas that suited this particular event.

Watching Loren put this together, what struck me most was realizing how many tiny decisions he had made, particularly what he’s doing with his hands. I noticed that, more often than not, his hand gestures were consistent and specific. Whether we knew it or not, his hands were helping to tell the story. Next time you go to a movie, watch your favorite actor’s hands, and see what you think. Tiny decisions.

But most edifying was the reminder that no matter how polished my song seems on paper, it can’t really be finished until after an actor gets his hands on it. Let your actor make choices, and be flexible about your tempos and dynamics. You’ll find that they often can know more about your material than you do. Then, go back and revise.

P.S. – This particular song, “Routine”, was actually finished last summer, so I’ve had many months to grow fond of my MIDI rendering from Sibelius. It was a thrill to finally see it on its feet. I’m eager to share it. As soon as our schedules allow, we’re going to make a video which I may post here.

2,007 – 1,967 = !

Does this mean I have to get a haircut and a real job?