Discussions on Form


Here are clips from a conversation between the Libretist and the Composer.

Libretist
 "I think I need to concentrate on getting the structure components of the Libretto laid out. Neither you or I can advance our roles in this until, not only the structure is defined, but the details within that structure. I envision certain aesthetics coming into play that will compress the internal elements that are required to express a comprehensive view of a very large subject. As you have mentioned before, connecting with the emotional power of the subject is critical. With that in mind, those moments need to be identified within the broader informational components.

As far as triming the length; that needs to be written into the structure.  I have versions of the Gnomes that include time frames of; 20, 30, 45, 6O, 90, 120, 150, 165 & 180 minutes, depending on the venue and the producing circumstances.

So, A&O will need a few variations in that regard, though not as many, because that is more oriented towards adults who have a longer attention span than energetic kids."

Composer
"I hear you on the need to nail down the libretto’s structure and flesh out its internal details before we can move forward. Your focus on aesthetics to condense a vast subject while amplifying emotional beats is intriguing, though I’d love to see more specifics on how you plan to balance the informational and emotional elements. That’ll be key to making it resonate.On trimming the length, baking that into the structure is a solid idea. The range of time frames you’ve got for the Gnomes (20 to 180 minutes) is impressive you’ve thought about adaptability and thats great . For A&O, fewer variations make sense given the adult audience, but I’m curious which durations you’re leaning toward and how you’ll tailor them to different venues. Maybe we can zero in on one or two to start?"

Of course, this is true. The Piece cannot be divided up until the full scope matures to convey all the details in the fullest sense, manifesting a beginning, middle and end, which conveys in the outermost the Three-fold essence. Each part, represented in the three-act format has a limited amount of time to convey a proper degree of progression "from concept, to form and beyond" (to coin my slogan for IMS), which basically means from proposition, to arguments, to conclusion of the intent within each act. The form that each act takes will initially be laid out in outline that identified the critical primary points that need to be conveyed, but also the secondary points, which in one way, serve as a bridge between the points or also as a backdrop to those points. The challenge is to maintain continuity and create a storyline, not just merely present facts. Because facts make up the core, but events and how those facts are conveyed within and between events is what gives it emotional power and a justifiable storyline of substance. 

  There are numerous concepts that are speculative and they could possibly be included in order to suggest a deeper meaning to the known facts that are conveyed. But it important not to take too much liberty with established text.

  There certainly is poetic licence, which can be employed once a proper sequence of facts can be established, in accordance with New Church philosophy. The challenge is to be selective, but to realize that the uninitiated must be catered to, while at the same time providing the more meaty concepts without becoming too aloof or mysterious.

I wrote "Nunc Licet" in order to establish a foundation and address the more complex ideas in a dramatic circumstance, but that's really irrelevant, because A&O must stand on it's own. It is that the material addressed will be entirely different from the drama. 

  I originally intended the music as more of a backdrop, but now that Act Three will be in the form of an opera, I think it is wholly appropriate for the entire piece to be musically based on a lyrical expression that is inextricably linked to entire presentation. Maybe not in whole, but absolutely in  a large degree.

More later AG

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