Tag Archives: Nautilus Music Theatre

forgive me, Baudelaire!

My new set of songs, Correspondences, Songs on Baudelaire will be performed by tenor Brad Bradshaw with pianist Tom Bartsch at the Rough Cuts series on January 18th and 19th. The first evening’s location will not be the Nautilus’s studio as usual, but Zeitgeist’s Studio Z, a block away (275 East 4th Street). That building is locked up tight as a drum evenings, so it’d be a good idea to arrive on time. Tuesday’s performance will be in the Foss Center at Augsburg College. 7:30 both nights.  Brad will be performing the songs in recital in February, and I hope to get them performed a couple other places as well this winter and spring.

When I started this project I had a general feeling about Baudelaire, and I liked the poetry.  Having read a lot more of him, thought about it hard and struggled to get it into song I have some more definite ideas. Today, with the project finished, I am pleased to have found an essay by Kenneth Rexroth that echoes my thoughts and gives me more to think about. It’s short, but packed full. I encourage you to read it.

The first thing I discovered was how utterly unsatisfying almost all the English translations were. I like what James Wright did with “The Voyage” and Roy Campbell hit the mark from time to time–neither Wright nor Campbell sounds like Baudelaire, but they produce vigorous and exciting poems. Most of the others leave too much to be desired. I agree with Rexroth: the poems are best in French.

In any case, after digging into a few, I realized that not only could no accurate translation be made but even if there were one, it’d make a lousy lyric. This is the case for most poetry: it’s too dense–too many words–and its logic defies musical setting. A poem carries its own music, and real music would get in the way.

So…forgive me Mr. Baudelaire. I pruned mercilessly. I abandoned your forms. I made whatever kind of lyric I thought would carry some of your meaning, and I made music to carry some more of it, and I made my own meaning out of your poems. I did what we do when we read them; I interpreted.

I feel an obligation to be faithful to something about the poems, to their ideas and images, and to Baudelaire’s mind. Baudelaire’s experiences, philosophies and attitudes were important to my understanding of the poems. I wanted to make the songs a journey with him through time; his day, his city.

Seven songs are not enough to give a listener all of Baudelaire. I picked poems about things I thought most important, and ones I thought would make good songs. If I add more later, I would like to set some poems to his mistresses, more Parisian poems, and maybe tackle the Litanies of Satan. Although Diamanda Galas kinda has lock on that one.

2009


New Year’s Day—
everything is in blossom!
I feel about average.

–Issa, translated by Robert Haas

almond blossoms, taken by Michael Favor, from wikicommons

photo of almond blossoms taken by Michael Favor, from wikicommons

The musical year here:

Twenty Days to Find a Wife enjoyed a successful run at History Theatre, and was named one of the top five dramas of 2009 by the Minneapolis Star Tribune.

Fidgety Fairy Tales had productions throughout Minnesota and in Guam, and we took the cast to Washington D.C. to perform for the conference of the National Association of Families for Children’s Mental Health.

Beaverdance had a very good run at Bedlam Theatre over the holiday season. The cast was amazingly fearless and funny, and I now know I can write a musical in three weeks.

We revived and expanded In Dreams Begin Responsibilities for a showing at Nautilus Music Theater. It is now a piano trio piece with challenging choreography and we are talking about revisiting it in 2010.

I worked with a number of wonderful collaborators: Laurie Flanigan, Matt Jenson, Corrie Zoll, Dan Pinkerton and Nancy Nair; and many fabulous singers, actors, directors and dancers.

Today, the last day of the year, I finished writing the last song for a cycle on the poems of Charles Baudelaire which will be performed in January and February by tenor Brad Bradshaw.

I got my daughter off to college and she is happy there. I’ve been playing piano in churches and dance studios and parties and concerts.  Tonight it’s cold outside and it is warm in the house and there are candles burning. Happy New Year!

Beaverdance sneak preview

Beaverdance, for which I am furiously writing music right now, will exhibit some of its charms at Nautilus Music Theater’s Rough Cuts works in progress series  this coming Monday and Tuesday evening.

Admission  is a paltry five bucks and milk and cookies are served at intermission.

I’m so hung up writing the darn thing that I wonder if I will get over to see it.

dreams redux

We–Nancy Nair and Mary Keepers and I– will have a presentation of In Dreams Begin Responsibilities at Nautilus Music Theater this coming Monday and Tuesday, May 18th and 19th.

I have rescored for a piano trio and Nancy has re-choreographed for two dancers. I am blown away by Nancy’s choreography, and by MacKenzie,  (that’s her on the left) who is a lovely dancer. Mary is our director. Thank god.

It’s only five bucks to get in the door, and they serve milk and cookies on the break. I strongly recommend calling for reservations (651) 298-9913 if you are going on Monday night, because seating is very limited in the Lowertown space. Tuesday night will be at the Foss Center on the Augsburg campus in Minneapolis.

trios

I am listening to and reading other piano trios while writing the trio version of In Dreams... Now I have some Beethoven going (”The Ghost” with duPre, Barenboim and Zuckerman)  so if this post is a little scatter-brained, that’s why.

Today I will try to figure out the “Merry-Go-Round” section, which is a little dance piece centering around major seventh and ninth harmony and depending on repetition for its effect. My tendency is to get bored easily when I am writing, and to want variation for its own sake.  I remember thinking when I wrote this piece that I wanted to limit what I said. The point of a carousel is that the same thing happens over and over. As the Father and Mother spin around on the carousel, it seems the music will never stop and they will never get off.  Now I will see what I can do with new instruments to make that happen.

This is the photo we used for the Fringe Production of "In Dreams"

This is the photo we used for the Fringe Production of "In Dreams…"

The new version will be performed for Nautilus Rough Cuts on the evenings of May 18th and 19th. It will be fully danced, so on the 18th we will probably be downstairs from Nautilus’s itty little studio, to give it more space.  I hope to find a nice dance space for the 19th.