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!

she opens soon!

It hit me today that I hadn’t really um described Beaverdance. Briefly, it’s a Marxist analysis of the fur trade in Central Minnesota featuring disco dancing beavers, a love story that almost ends tragically featuring a rapacious capitalist named Mr. Blaine and a city boy named Loring Park, a manly voyageur named Jacques Brainerd and his beautiful Ojibway love interest, Bemidji. That’s all clear, right? It opens tomorrow. The cast is looking and sounding great.

Got a little writeup in the Onion AV Club this week, in TC Daily Planet, and in  Minnesota Monthly, and MPR will air a drivetime spot Tuesday. For some reason in all these writeups you have to scroll to the bottom to find my show. I wonder why that is…

I’ll be in DC on BD’s opening weekend, performing Fidgety Fairy Tales with a group of six young actors and Matt for a national convention.

One Baudelaire song written, and two more in the works. I actually made myself cry improvising some ideas for one on piano. Now we shall see how it turns out. What I have discovered about setting Baudelaire is that I have to cut, cut, cut. The language is too thick in all the translations I have. Too many adjectives.  The song cycle will be performed in February and I hope to have all the writing done by the end of December. The first song I wrote I junked. The second I’m not so sure about but I sent it off anyway.

Charles Baudelaire, 1885, photo by Felix Nadar

In any case, it is very promising, and I will have more to say about this project in the coming month. For now, I will only say that Baudelaire is much deeper and cooler than the popular ideas about him.

Beaverdance? Check

Beaverdance is written…I don’t know why I thought my Next Big Project would be something I would take my time over. I believe I wrote all the music in three weeks. Never again. But…it is fun. I stopped by rehearsal last night and the cast is funny and cute, in the Bedlam tradition

That’s Heather, aka Foxy Tann, running the rehearsal there. See what I mean about how cute the cast is?

The show opens December 3rd and runs through the 20th. Dinner-theatre packages are available. A Marxist disco extravaganza about the fur trade is the perfect way to celebrate the holidays. Go see it!

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.

vocal music

Francis preaching to the birds, Giotto

Francis preaching to the birds, Giotto

Today is the feast day of Saint Francis of Assisi. The Rose Ensemble has created a concert and recording entitled Il Povorello which culminates three years of research into Franciscan music, and the music of that time and place. I attended their outstanding concert at the Basilica in downtown Minneapolis Saturday night. It is difficult to overstate the excellence of this group. Each member is a first-class musician, and they have an almost-perfect ensemble sound that grows from seriousness of purpose and a sense of fun.  I’ve never bought their recordings, because I would rather hear them live…sorry guys!

Minnesota Opera played Bizet’s Pearl Fishers these last two weekends and I saw the closing performance this afternoon. It was a good group of singers. Isabel Bayrakdarian, after a rocky start on her first bit of vocalese, was emotional and fluid, and Jesus Garcia and Philip Cutlip were great from their first duet on. The scene and costumes, designed by Zandra Rhodes and imported from a San Diego production, gave the piece an appearance of a storybook come to life.

Pearl Fishers...entrance of Leila.

Pearl Fishers…entrance of Leila, MN Opera's version.

(This picture doesn’t show how the scenery had the appearance of a drawing; e.g hatchmarks for rain, drawn flames for fire. It was simple and lovely.)

The choreography, also moved over from San Diego,  mimicked every subdivided beat and flourish in the score. As usual in MO’s productions, the stage direction was sluggish and odd. I assume–as in every behemoth production in this city–that the idea of um, acting got overwhelmed by spectacle. Luckily,  Zenon dancers were on stage to move around and make a few things happen in the crowd scenes.

An opera production can get static and stay that way. Things’re just too complex. Something needs to give and–given the demands of music and the boatloads spent on mise en scène–it’s the acting that gives. However this piece, with its nice tight little cast and story, would’ve been an ideal moment to dig in.

As for the music–wonderful. The story: insert obligatory reference to Edward Said here.

new projects

A summer of teaching, a long car trip out west, some unstructured time to think and to sew and now…a flood of projects. I’ll be blogging about each of them in future posts, but for now I will simply make a list.

Fidgety Fairy Tales was invited to present at a national conference in DC this December. We are scrambling around (well, mostly Matt is scrambling around) making up a cast and a rehearsal schedule. The piece has also recently been produced in Guam (yes, Guam!) and in Duluth by other companies.

Along with Avedis Manoogian, I am writing music for Bedlam’s Marxist Fur-trade Holiday Fantasy, Foxy Tann’s Beaverdance. We were a little late getting off the ground with this one. Rehearsals begin in a couple of weeks, so I will be writing like mad, like those Hollywood musicals where the composer and lyricist sit at the piano wracking their brains and then bam! inspiration strikes and out pours the song. Hmm, looks like some people still do that.

Bart Sutter is reviving and expanding a poetry play into two acts, to be called Pine Creek. I played music for the original version–Small Town Triumphs–ages ago at History Theatre. Now, a few additional songs. I set one while I was on vacation and am not quite satisfied with what I did.

Then of course, there is Fidgety Part Two. I junked several of the songs I wrote for it after we did a readthrough this past summer, and Matt and I are rewriting quite a bit. The new songs I have sketched out are much better, less generic and more playful and fun.

I’m in the early stages of discussing an adaptation of a novel with a playwright friend. Don’t want to say too much about it for fear of jinxing it, but I feel hopeful. This will be a honking big musical, big cast, epic story, the whole bit.

I’m playing for dance classes at the University of Minnesota and Minnesota Dance Theatre, and it is going better at the start of the year than I feared it would. I am remaining pretty free in my improvisation and lots of good ideas pop up to the surface. My current obsession is pedal tones. I’ll play for the Royal Winnipeg’s company class when they hit town in October. That will be fun.

RWB

RWB: still from Romeo and Juliet

Does this sound like enough? There’s more, but I will leave it at that for now.

Fidgety Two

We will be doing a reading of Fidgety Fairy Tales Part Two at the Sumner Library in North Minneapolis this coming Thursday, July 23rd, at 4:30 p.m. Young actors will do the reading and I will hack through the music as best I can. I’m interested to see what reception it gets.

I’ve been quite busy teaching at Children’s Theatre Company these last few weeks. Written a few good songs. It’s fun and high energy, as always.

on making a living…

Today I have been slogging through the Dramatists Guild Sourcebook in preparation for sending queries to theatres about Twenty Days. It’s 4:00 pm, and except for biking down to the library to return some piano music and eating some pasta with chard, that’s all I’ve done all day.

It’s amazing how vague some theatres can be about what kind of material they want to produce, especially theatres that are trying to–somehow–be different.  They know what they mean, but I don’t. Well in any case, Twenty Days is not an experimental piece, just a good strong musical told well. I’m feeling hopeful.

Laurie and I received our royalty payments from History Theatre today, so that puts a nice cap on the day. I won’t think about my hourly rate of pay…that does not bear thinking about. Really, I wonder how I stay afloat, but I do.

At times like these I think about George Gissing, and thank my lucky stars.

performance energy

Michael Jackson was all about it.

young...

young…

A lot of people are all about it.

Dinner with teaching colleagues tonight, talking about the pleasures of high power performance.  What sticks with you after the show is over?

Heard Quincy Jones on the radio talking about what he noticed about Michael when they first hooked up: phenomenal memory and drive, the discipline he put into learning. And the amazing joy of it.

My brother and I were asking ourselves how long Jackson’s legacy will last. He was a creature of others. Modern recorded performance is a matter of production; the recording takes on its own life. Live performance, unbolstered by spectacular effects is ephemeral and fragile. Michael Jackson was durable–until he cracked.