I have completed a plot outline, roughly following the chapters in Solzhenitsyn's novel, "Cancer Ward." Because I am writing an opera, I do not call these chapters, but refer to them as scenes. What I have done next, is to assign a folder to every scene. In this folder, I expect to place all music which satisfies the musical and dramatic requirements of the scene. The primary goal, is to place music in all folders -- each folder has music in it. It will sometime occur, that I will place music which I do not actually intend to use, but place it in the folder to fill it, or mark it. As those who have tracked my musical development from my first opera know, the first drafts written from these folder "music resources" will undergo many, many transformations, additions, and adjustments. There can also occur, where music originally written for a scene, might actually be transplanted to another scene.
This has occurred with the Overture I have written. The first Overture is very powerful, but will probably now be used for another scene. A new Overture has been written -- the powerful opening brass theme now introduced by low strings. After this opening statement -- closing with horns and trumpets -- a chorus is introduced and accompanied by the string section.
The text to the chorus is a poem by Pushkin. It is not quoted in the text of the novel, but is referenced in a chapter heading of the novel, "At the Grave's Portals...," (Chapter 18).
Scholarly analysis of this poem can be found easily on Russian webpages. The composer must assume that this poem is considered a supreme example of this great poets work. Therefore, any use of the poem, must, necessarily, be considered a test of the composer's artistry and worthiness. The composer has used, for the text of the opening chorus, the poem as originally published in the first edition. This restores two stanzas which have been generally omitted from subsequent publications of the poem. When I translate text, as a composer, it is not that accuracy of translation is unimportant, but the primary concern is meaning. With this in mind, I offer the composer's translation of the poem:
Whether encircled by rebellious throngs, or
Whether the sweetness of peace I taste,
Thoughts of inevitable dying are near, always with me.
Whether I wander along noisy streets,
or enter a populous temple,
or among mad youth I sit
I give myself up to my dreams.
I say: Fly years
and how many here are neither visible
we go down under the eternal vaults
and someone's hour is near.
Whether I look upon the solitary oak,
and think: the patriarch of the forest
Will live past my life of oblivion,
as he has lived through the age of my fathers.
Whether a young one tenderly caressing,
Already I think: Forgive me!
I concede my place to you,
for me time decays, for you, it flowers.
Every day, I occupy the hours at home
trying to guess the approaching anniversary
of death between them
And where will Fate send me Death?
In battle, in wandering, or in the waves?
or will a neighboring valley hold
my ashes grown cold?
In vain, Destiny will not overcome Vanity's imagination,
But not vainly will bright dreams acquaint me with the tomb.
And although an insensate body be reduced to dust,
closer to the cherished end, all I desire be, to rest,
and, at the entrance to death, youthful life will play,
and, indifferent, nature shine with eternal beauty.
Alexander Pushkin, 1829
The composer believes that this poem is an important theme, which runs throughout the novel, "Cancer Ward". Of such importance, as a matter of fact, that I believe it merits using the poem as the basis of the Overture to the opera.
After this chorus, we are into the Prologue of the Opera, "Cancer Ward."
The composer thinks of this scene, as being titled, "Typical Romance." I might add, that in Russian, the word "romance" means both, "a relationship of love", and, "a novel".
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