I just made some huge changes to the website: Everything in the Experience and The Music tabs now is broken into different pages by content. Now, if you want to see one piece of information, you don't have to wade through a bunch of other information to get it! Check it out!
Just yesterday (coughcoughwhileIwasboredatworkcoughcough) I started working on the libretto for the first of the operas that's meant to be a companion piece to The Name on the Door. This one deals with Adam, Eve, and Lilith... probably set in 1967. It may or may not involve brownies.
Anyway, at this point I'm just to a confrontation between Lilith and Eve. Once I get finished with this libretto (which is very, very rough at this stage) I'd love it if I had a few people take a look at it. I might need extra help trying to keep it in 1967
The past few days have actually been somewhat good for me, creatively.
I have a start on "The Good Night," the last song I have yet to write for Love is Not the Last Room. Well, it's my third or fourth start, but I don't think I'm scrapping this one. Thanks, Prokofiev, for the ideas. You'll probably hear the more obvious idea if you listen to it, but that led to a less obvious idea #2, which probably only in my head. Oh, idea #2 owes a little bit to Shakespeare, too. (Cryptic much?)
The real progress was made in the orchestral piece. I spent the last week or so listening to some of the great orchestrators (or, at least the greats that I have full scores for.) Listening to Stravinsky's Firebird gave me some great ideas for colors in the piece, and I'm able to reference those colors for recurring musical ideas throughout the piece. In just two days of orchestrating, I'm 2/3 of the way through the piece! It's moving by much more quickly than the past couple times I've tried to orchestrate this. So, thanks, Stravinsky, for letting me borrow some of the crayons from your box.
Oh, and the piece doesn't actually sound like Stravinsky. It sounds like another piece of mine, Cogito ergo sum, which I've been told sounds like Bartok. Well, Cogito ergo sum kind of feels like a practice piece for this new piece. Much more involved.
So yes, thank you Prokofiev, Stravinsky, Bartok, and, in a roundabout way, Shakespeare.
Also, while I was listening to the great orchestrators, I rediscovered this amazing piece. Strauss didn't normally write with his heart on his sleeve, but he totally did here. This isn't the direction I wanted to go with my new piece, but I had to listen to this... several times. Give it a good listen yourself (along with the other two youtube videos that make up the full performance). Trust me. You'll love it.
Follow me on Twitter! @moberhau
Here I'll write about what I'm working on, how it's going, what I'm listening to, or anything that seems to pop into my head.