I HAVE THESE THOUGHTS IN THE SUMMERTIME TOO AN OPERA
***
CAST: THE MESSENGER: --explicitly linked to “true religion” --carrying the EGG (thus linking the EGG to the “true religion”). Loses the EGG when she is executed by the FALSE IDOL/FALSE PROPHET --dies in the first scene --not highly ranked (foot soldier), but fully devoted to cause
THE FALSE PROPHET/THE FALSE IDOL: --2 separate characters, but fluid as to who is who (FALSE IDOL is only depicted via portraits in the scenery backdrops) --excess in every way: decadence, kitsch, overly process-based (musical embodiment of excess of late capitalism + academic excess of contemporary classical music world) --we should know they are evil (‘Iago’ type character--no human redemption possible)
THE BANDIT --”last soldier” of true religion --ideological empathy (not personal empathy) towards their character --only goal to defeat false religion, guerrilla fighter
THE SMUGGLER: —doesn’t appear to be linked to the musical structure (aesthetically different, musical material always mediated through a technological device), however compositionally linked (implicit structure; sensed, but not easily identifiable) --rejects aesthetic of the FALSE PROPHET/FALSE IDOL ——motivated by self-interest: only opposed to the FALSE PROPHET/FALSE IDOL because he’s a criminal
CHANCE: --zero context, zero character development, blank slate --”a young girl” --”purest” musical material (unaccompanied solo voice, compositionally pure, “the ideal”) --picks the EGG from the rubble when all is done --only appears once, at the end (no reason for her to exist, happens to appear at end and find EGG)
THE EGOS:
I. THE LAZY AUDIENCE/THE HEDONIST LISTENER the society that disregards sound and the value of music. does not want to engage, wants only to consume and have their base emotions satisfied. CS Lewis’s ‘unliterary reader.’
II. THE ACADEMIC COMPOSER views emotion as a flaw to be rubbed out. condescending, superiority complex, cannot see his own folly and has no sense of humor. believes music is a science and does not believe in art
III. THE NEOLIBERAL COMPOSER wants everyone to be happy, thus refusing to acknowledge the inherently subjective (and consequently fraught) nature of music
IV. THE DENIER wastes his gift as he falls victim to fashion and the easy lifestyle. has no spine
***
LIBRETTO
I. [0-11’] OPENING “…like a piano that has been hit.” [Stockhausen, 1971 Lecture]
SCENERY: Somewhere dark, remote, maybe a cave in some far-away place
CHARACTERS: MESSENGER, FALSE PROPHET, a henchman
INSTRUMENTATION: cymbals, piano
~~~
The MESSENGER awaits her inevitable capture by the FALSE PROPHET while carrying the EGG. She sings her lament as she hides THE EGG.
MESSENGER [aria]: “” Does not every war—mythological or historical—concern the struggle of light, life, and knowledge against darkness and evil?
To be greatly good, one must imagine intensely and comprehensively. [Calinescu, “The Idea of the Avant-Garde”]
Intuition is always present. [Stockhausen, ‘On the Musical Gift’]
While we lay in the powder, they are braiding the fuse, and the spark of circumstance will set fire to it. [Honoré de Balzac, excerpted from “The Idea of the Avant-Garde”]
Music is spiritual food. It discovers something you have been before, that is profoundly already within you. It resonates, like a piano that has been hit. [Stockhausen, 1971 Lecture] “”
The FALSE PROPHET enters, triumphant.
FALSE PROPHET:
“” You will die. Yes, you will die A death befitting your worthlessness. You will die. You fail to be economically viable. Fool, fool! You will die. Yes, you will die. The market holds no place for art. You will die. You will die. [Original text] “”
He brutally tortures and kills the MESSENGER as an example for anyone trying to associate with the good. The BANDIT witnesses the events, but cannot act without endangering herself. She declares her determination to defeat the FALSE PROPHET.
BANDIT:
“” It is we, artists, that will serve as your avant-garde, The power of the arts is indeed the most immediate and the fastest. We have weapons of all sorts: when we want to spread new ideas among people, we carve them in marble or paint them on canvas; by turns, we resort to the lyre or the flute, the ode or the song, history or the novel; the theater stage is open to us our influence exerts itself electrically, victoriously. We address ourselves to the imagination and feelings of people: we achieve the most vivd and decisive kind of action; if today we seem to play no role or at best a very secondary one, it is for lack of drive, essential to our energy and success [Olinde Rodrigues, taken from “The Idea of the Avant-Garde” (Matei Calinescu, Five Faces of Modernity)]
But screw my courage to the sticking-place and we’ll not fail As we shall make our griefs and clamour roar I am settled, bend up each corporal agent to this terrible feat. Away, and mock the time with fairest show. False face hides what the false heart doth know. [Shakespeare, Macbeth] “”
***
SCENE II [11-20’] EGO I: THE HEDONIST LISTENER “…often produced by such people in order to justify the poverty of their intelligence and taste.” [Helmut Lachenmann, ‘Open Letter to Hans Werner Henze’]
SCENERY: A gallery, rather snobby looking. A portrait of the FALSE IDOL hangs on one of the walls.
CHARACTERS: SMUGGLER, EGO A, 2 ladies in furs (dancers), snare drum player
INSTRUMENTATION: oboe, snare
~~~
EGO A, with two women in furs, enjoys commercial art in a gallery (think Damien Hirst). A snare drum player (clearly there against their will) is providing the background music at a laid-back tempo—the three patrons absentmindedly dance along, but they are unaware of the effect the music has on them. EGO A:
“” [DECLAM] Gaudy hues Discreetly artificial The real physical machinery Opulent sepulchral monuments Equally black plinth Crowded displays of drug packets You hardly notice the aesthetic construction Heavy figure of manhood The cherished subject of hospital soaps Fragile umbilical cord “”[Rudi Fuchs, “Minimal Baroque and Hymns” and “Victory over Decay”]
The SMUGGLER notices that the a) the art in the gallery is worth money and is therefore of interest to him, and b) that the patrons are unaware of the music’s effect on them.
He whispers to the snare drum player, who begins playing at a faster and faster tempo.
EGO B:
“” [ARIA] drift forever in the infinite space of memory and imagination the sparkling texture and dense rhythm realism performed with romantic flamboyance harrowing little enactments without words relentless clarity colourful splendour is next to raw reality figurative events become distressingly extreme glittering effigy of death calculated mise en scene exquisite rhythm of wings the sideway protrusions at its jaws diamond skull of scintillating light “”[Rudi Fuchs, “Minimal Baroque and Hymns” and “Victory over Decay”]
The patrons dance along uncontrollably to the music while the SMUGGLER steals all of the items in the gallery.
EGO B:
“” [DECLAM] Gaudy hues Opulent ornament Aesthetic construction The cherished subject Fragile Colourful
Cadaverous hollows stiffly laughing a certain jocularity
Gaudy Glittering Romantic Superb
Cadaverous Prologue to the skull Harrowing Relentless Calculated
Gaudy Gaudy … “”[Rudi Fuchs, “Minimal Baroque and Hymns” and “Victory over Decay”]
The patrons dance themselves to death.
***
SCENE III [15-27’] EGO II: THE ACADEMIC COMPOSER “…Professor, you are looking for a chicken in an abstract painting.” [Stockhausen, ‘Points and Groups’]
SCENERY: Almost a classroom, with mathematical equations and scientific instruments. The setting feels very cold and too clean.
CHARACTERS: EGO B, BANDIT
INSTRUMENTATION: wood block, 2 violas, flute
~~~
EGO B pontificates about the overly-abstract and complex nature of his work while precisely (almost comically) constructing a string structure around the space (it is a very scientific structure, naturally).
EGO B:
“” [DECLAM] what is true of a man’s personality is true of his work what exercises a fascination is simply what is still, and will always remain, unexplained celle qui résiste à la tentative d’inve- stigation, celle qui, manifestement, possède l’- évidence in an attempt to pin it down, we generally make use of neutralizing words: ambiguity/y(-ies) contradiction(s); we try different keys - they fail to fit the lock de l’inquisition. it only remains to imagine the discrepancies within an individuality:
[ARIA] : he who observes a divergence in his gifts and does not refuse the divergence - - non seulement, mais - tries, despite flagrant incompatibilities, to use it as a lever; : he who, insécable, conserve et provoque - does not give up the soil, though aware of the phenomenon of rotting destined to sustain it, he who aspires to shelter and stability, dependent qu’elle propose le feu, l’incendie; : he who amasses knowledge, and endeavors not to envy innocence. specifically due to circumstance, (mais le pogrome est-il sans précédent?) the wandering life, median section of this existence, coupure de définition, confirming confirme ties and homesickness, exalting the wrench and the determination. “” [Pierre Boulez, ‘Tribute to Adorno’]
The BANDIT creeps into the scene, modifying the structure so that it eventually traps the academic without his noticing.
BANDIT:
“” Professor, you are looking for a chicken in an abstract painting. “”[Stockhausen, ‘Points and Groups’]
EGO B:
“” the hosts of contradictions - non résolues, ambiguities - non dissipées, which the subtlest, the craftiest dialectics will not pierce; which the craftiest, the subtlest of dialecticians fera son gerbier! (ce gerbier que ne manqueront pas de visiter, et de piller, les mulots et autres rats des champs…) the intelligence, the perspicacity, will now be transmitted viva voce (acuta): “” [Pierre Boulez, ‘Tribute to Adorno’]
Once EGO B has been immobilized, the BANDIT strangles him.
BANDIT: “” …qui instaure le privilège et l’avantage de la communication avec un repère primordial. “” [Pierre Boulez, ‘Tribute to Adorno’]
***
SCENE IV [23-33’] THE MEETING “…Zeitgeist mir das Spiel” [Karlheinz Stockhausen, text from ‘Examen,’ Donnerstag—Licht]
SCENERY: A dark hallway somewhere within enemy territory
CHARACTERS: BANDIT, SMUGGLER
INSTRUMENTATION: piano
~~~
The SMUGGLER comes in, carrying his plunders from the gallery. He is clearly in enemy territory, but proceeds to take any valuables available in the space. After examining a portrait of the FALSE IDOL, he tosses it away as not valuable, and gloats about the stupidity of his victims.
SMUGGLER:
“” I do not belong to your organization. I know nothing about it. I am not even interested in it.
Why do people continue to compose music when they already know the answer: nobody gives a fuck.
We are scum. We are the SCUM OF THE EARTH. We are bad people. We are useless bums.
The pay is lousy, guys ’n gals, so don’t be jealous
Whiff the aroma of simulated ‘prestige’
Hey! Buddy! when was the last time you THWARTED A NORM?
Look out! standing in shit up to your chins,
BINGO! There goes your tenure! ”” [Frank Zappa, ‘BINGO! THERE GOES YOUR TENURE!’]
The BANDIT enters: she is setting bombs as she goes, with blood on her hands from strangling the EGO. The two bump into each other and are unsure as to how to handle the situation (it is clear both of them are up to no good). They dialogue briefly and conclude that each should go about their own business without interference from the other, and continue on.
BANDIT AND SMUGGLER:
“” Zeitgeist mir das Spiel Spiel Deines Instrumentes Spiel Deines Bassetthorns Spiel Deines Bassetthorns Bassetthorns “” [Karlheinz Stockhausen, text from ‘Examen,’ Donnerstag—Licht]
***
SCENE V [32-43’] EGO III: THE NEOLIBERAL COMPOSER “…no offense…”
SCENERY: A very gaudy, comfortable home (as tho someone rather wealthy with terrible taste lives there).
CHARACTERS: EGO A, three instrumentalists, SMUGGLER
INSTRUMENTATION: horn, trombone, triangle, piccolo
~~~
EGO A prepares his composition to be played at the processional of the FALSE IDOL. The performers play: he continually pats them on the head, but makes them play the same chord over and over again until he is satisfied with the chord (it is something very basic sounding). EGO A:
“” MI MI MI … ””
After what seems to be an excessively long time, he dismisses them, and then monologues about his piece.
EGO A:
“” La la la … No ah… No ah… La la la… offense offense offense “”
Mid-monologue, the SMUGGLER hits him over the head. He proceeds to take anything of value in the room.
***
SCENE VI [41-51’] PROCESSIONAL “…greed clarifies, cuts through, and succeeds…” [‘Greed is Good,’ from Wall Street]
SCENERY: Lots of banners and splendidry depicting the FALSE IDOL
CHARACTERS: EGO B, FALSE PROPHET, henchmen, BANDIT, SMUGGLER
INSTRUMENTATION: 2 pianos, [horn, trombone, piccolo]
~~~
EGO B conducts the ensemble playing EGO A’s piece while the FALSE PROPHET parades around the space with his henchmen. After traversing the space, the FALSE PROPHET shakes EGO B’s hand. EGO B exits. The FALSE PROPHET proclaims the power of the FALSE IDOL. During this proclamation, the SMUGGLER steals all of the decorations and the BANDIT sets bombs around the space.
FALSE PROPHET:
“” Greed is good. Greed is right Greed marks the upward surge of mankind.
Greed is good. Greed, it works. Greed clarifies, cuts through, and succeeds.
We’re not here to indulge in fantasy, but in political and economic reality. You either do it right or you get eliminated.
Greed is right. Greed is great.
We are not destroyers, we are liberators! The point is that greed is good.
Greed works. Greed clarifies, cuts through, and captures the essence of the evolutionary spirit. Greed, in all of its forms — greed for life, for money, for love, knowledge—has marked the upward surge of mankind.
Greed is good. Greed is right Greed marks the upward surge of mankind.
Greed is good. Greed, it works. Greed clarifies, cuts through, and succeeds.
Greed is right. Greed is great. Greed will save us. “” [‘Greed is Good,’ from Wall Street]
***
SCENE VII [47-54’] EGO IV: THE DENIER “…Spiel deines Bassetthorns…” [Karlheinz Stockhausen, text from ‘Examen,’ Donnerstag—Licht] SCENERY: a modest, but tasteful study
CHARACTERS: EGO B, BANDIT, FALSE PROPHET, henchman
INSTRUMENTATION: bassoon, bass, viola, flute, clarinet, percussion
~~~
EGO B returns from the processional visibly shaken. To soothe himself, he puts on a record of contraband “good” music and conducts along to it.
EGO B:
“” [various consonants] “”
The BANDIT sneaks in with the intent of assassinating him. Instead, she notices his distress and attempts to dialogue, hoping to flip his allegiance.
BANDIT AND EGO B:
“” Zeitgeist mir das Spiel Spiel Deines Instrumentes Spiel Deines Bassetthorns Spiel Deines Bassetthorns Bassetthorns “” [Karlheinz Stockhausen, text from ‘Examen,’ Donnerstag—Licht]
Mid-dialogue, the FALSE PROPHET and a henchman burst in, arresting both of them.
He begins to march the EGO and BANDIT to their deaths. The BANDIT cries to the SMUGGLER to trigger the bombs she has set around the space.
***
SCENE VIII [53-57’] DESTRUCTION [WCH 05-01-2018]
SCENERY: Scene occurs everywhere
CHARACTERS: EGO B, BANDIT, FALSE PROPHET, henchman, SMUGGLER
INSTRUMENTATION: 2 pianos, percussion [graphic score]
~~~
The SMUGGLER triggers the bombs, destroying everything and killing everyone.
***
SCENE IX [57-60’] REBIRTH “…we are moving through time and space, but our ears are in excellent condition…” [Cage, Lecture]
SCENERY: rubble, blankness
CHARACTERS: CHANCE
INSTRUMENTATION: none (pitch pipe for singer)
~~~
CHANCE appears. She pulls the EGG from the rubble—remarkably, it is unscathed. Recognizing its beauty, CHANCE sings a solo aria in response.
CHANCE:
“” Di questa terra Conscience arise Breathe, [la vie] breathe forth No other way dans l’éspace Si juste Not as birth, but as love Continue, at rest [could enter your heart] Nor could express J’écoute à vie Si ceci est cela cela est ceci To have the fruits Senza morte Like from like Avec des moyens typiques et suprêmes A call to la source possible [John Cage, ‘Aria’] We are moving through time and space, but our ears are in excellent condition [Cage, Lecture] “”